Written by: Mahnaz Shujrah
Posted on: November 21, 2022 | 
| 中文
(L to R) Zaki al-Hashmi (presenting), Davud Bektas, Taimoor Khan Mumtaz, Dr. Naela Amir, Dr. Rahat Masood, Dr. Amjad Waheed
This was quite a happening weekend in Lahore, with a variety of parallel events in full swing. Amongst these was the International Islamic Art Festival 2022, which took place at the Alhamra Art Council, from Thursday 17th – 20th November. First of its kind, this festival was an amalgamation of activities taking place throughout the day, including exhibitions, panel discussions, workshops, contests and musical events. The audience was a blend of people with varying interests, ranging from experts and practitioners on one hand, to students and enthusiasts on the other. The best part was that it was free and open for the public.
UNESCO celebrates International Day of Islamic Art on November 18th, in order to acknowledge the contribution of art forms that fall within this realm. Islamic art spans over a period of 1400 years and has within its fold multiple mediums of expression, including but not limited to, architecture, painting, calligraphy, geometry, illumination, textile, ceramics and fresco. Much of Islamic art is based on traditional art practices, which differs from the modern, contemporary, abstract form of expression. The event kicked off with the opening ceremony, which enlightened the attendees about the purpose, vision, and goals of the conference.
Tasbih (beads) making process
The second day of the conference established the principles of Islamic and traditional art, and discussed the concepts and themes upon which further sessions and workshops would be based. The first panel discussion was titled “Islamic Art and Architecture: Historical Background and Theoretical Framework”, moderated by Prof. Dr. Rahat Naveed Masood, and it included eminent speakers who shed light on the essence of Islamic art. The panelists included Dr. Amjad Waheed, who spoke about the “Reflections on the study of Islamic Art”, Taimoor Khan Mumtaz of Hast-o-Neest, an architect who eloquently discussed “Islamic Art and Architecture- Haqeeqat aur Mijaz”. Other presenters included Prof. Dr. Naela Amir, who shared her work on “Islamic Art in Medieval Architecture of the Subcontinent” and Zaki Ali al-Hashmi from Yemen, who shared insights on “Tradition of Writing in Muslim Culture: Text to Art Form”.
Traditional art integrates all aspects of human existence, the mind, body and the soul. The concept is of everything being in perfect harmony, or as Taimoor Khan explained, a better word would be tanasub (proportion). The spiritual aspect cannot be removed from traditional art, in fact, it is the basis of it. While modern art places the individual at the center of everything, traditional art recognizes that the individual is part of a greater divine scheme. Traditional art, whether it is calligraphy, painting, architecture, or any other form, conveys a message that is based on a language of symbols. Traditional art does not require one to create a new language, rather it emphasizes using the existing “rules of grammar” to guide the artist to self-actualization. In traditional forms of Islamic art, it is about the process more than the product. It is the process that transforms the artist, and it is truth of that transformation that radiates through their expression.
Students participated in the art activity and competition on the theme of Asma-ul-Husna
This was followed by the second session “Framework of Aesthetic”, moderated by Dr. Sumaira Jawad. The second panelists presented their research and papers, which delved deeper into the practice of Islamic art and focused on examples that many of us would be familiar with. “Human and Humanism: Conceptions and Misconceptions on Muslim Aesthetics”, was discussed by Prof. Dr. Memoona Khan, a researcher who has also written extensively on Wazir Khan Mosque in Lahore. Rabiya Asim, a PhD candidate at the Punjab University, shared her research, “Silent Theology in the Sacred Islamic Art of Quranic Illumination”. My favorite presentation from this panel was by Prof. Davud Bektas, “Expression through the Art of Calligraphy, My works, and Specimens”. Prof. Bektas was the lead calligrapher who designed the inscriptions inside the new mosque built in Taksim Square, Istanbul. It was mesmerizing to hear him explain the thought process behind his designs and realize the amount of fine detail that goes into it. Prof. Rizwan Azeem ended the session with “Architectural Calligraphy in Lahore: A Historical and Artistic Analysis”, in which he discussed how Lahore has a unique tradition of calligraphy that is applied on buildings of the Mughal era. The detailed calligraphy is seen using stones in kashi kari and inlay technique, parchin kari (pietra dura). Beauty and balance are at the center of Islamic art; a single stroke could destroy this balance, hence each action by the artist becomes visible and meaningful.
Prof. Davud Bektas' lecture on “Expression through the Art of Calligraphy, My works and Specimens”
The exhibition and stalls set up were also fascinating. Heritage of Iran was displayed through items from Khana-e-Farhang, Iranian Cultural Center. Turkish display was set up by Yunus, Turkish Cultural Center. I especially liked the section where they showed how tasbih (beads) could be made using stone, marble or wood. The exhibition and the conference were global in nature, with presenters speaking in their native languages of Arabic and Turkish; translators were present in order to facilitate their presentation for the audience. It was quite a pleasant surprise how much of these languages can easily be understood by someone who speaks or understands Urdu.
The stalls set up by Khana-e-Farhang and Yunus Emre
Day three of the festival also consisted of two panel discussions, with the topics being more detailed as much of the framework and background had already been laid out during the first two days. The first session was centered around “Splendor of Muslim Architecture”, while the second panel discussion was about “Aesthetic and Spirituality”.
The panel on the fourth day revolved around the theme of “Living Traditional and Contemporary Trends”, moderated by Mr. Kamil Khan Mumtaz. There was also a workshop by Zaki Ali al-Hashmi on the “Tradition of Calligraphy of Mushaf Nasikh Script”. The event was concluded with a closing ceremony, honored by the presence of Chief Guest Malik Taimoor Masood, Minister of Youth Affairs, Sports, and Culture Punjab, followed by a Sufi musical performance by Mr. Sain Zahoor.
Sufi musical performance by Sain Zahoor
The view of the organizers was that the event was very well received by the audience. It was pleasing to see the curator of the festival, Mr. Irfan Qureshi, and the executive director of Alhamra Center of Arts and Culture, Mr. Zulfiqar Ali Zulfi, both fully invested in creating and highlighting this platform where everyone could openly participate and be part of the discussion. It would be wonderful to see the Islamic Art Festival become a yearly addition to the city’s calendar, and further enrich the cultural offerings of Lahore.
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