In Love With ‘Love’
Rumi, the celebrated Persian thinker and poet mentioned,
“Hearken to the flute (ney), how it tells a tale complaining of separation!
Saying, “Ever since I used to be separated from the reed mattress my lament has caused man and lady to moan.”
This axiom implies the pathos of actual love, the custom of Ishq (True Love) that encompasses human being in the corporeal world and throws it means beyond the limitation of mortality and transience; thus Ishq is taken into account, by the mystics, the only means of achieving immortality and fervency.
Renowned Urdu poets carried this thought and idea of ceaselessly in their poetry, if Meer found Ishq as the mannerism of life, Ghalib labeled it as the ultimate incarnation of the romance that we had been obsessive about; in connection with God and nature.
Iqbal’s standpoint regarding Ishq was nothing else however the real power and power of realizing one’s shallowness (Khudi) that could make him as vast and deep as oceans could also be, and as infinite and unfathomable as the universe could be.
Persian tradition of exploring Ishq has been a significant urge behind its artwork and literature, other than Rumi, Jami, Hafiz and Saa’di, all have been crafting their thoughts into the lyricism of mystic or Sufi poetry while, the same beliefs got their approach out of the diminutive frames of Persian Miniature Painting.
Rahat Naveed Masud is the daughter of this soil that has absorbed the nectar of Sufism and Bhakti (the Hindu path of reaching salvation) since ages. She is inspired by the Persian Muslim custom of expression by illuminated manuscripts personifying refined sentiments with innocent symbols and blameless details. She may need run her fingers along the free flowing traces of the miniatures of Shahnama, Hamzanama, Kalila-o Dimna or Sherin Farhad to immerse her work in the identical rhythm and surge in form. Whereas the themes of Rahat’s portray counsel that she could nicely have listened to the anecdotal facet of those mentioned manuscripts as properly, however, she has her personal voice and own lines.
Rahat is not a miniature painter as far as her approach goes, but thematically, she may be discovered as mystic, as paradoxical and as intoxicated as the Persian or Mughal miniature painters had been in their very own times.
She is an artist of contemporary epoch, an artist with unique and précised method towards life. She has got a peculiar doctrine to deal with life to extract passionate truth and rational spirituality out of it, after which changing it into a visible expertise by way of her artwork that may contact viewers’ wisdom and emotions on the similar time.
Preserving in view Rahat’s earlier work of art, one can find the murmurs and peeps of fragility, usually associated with ladies of this a part of the world. She has always appeared upon a girl’s physical and emotional world with an eye fixed of a girl, which a person could possibly be deprived of due to gender sensitization or gender itself.
In the current present nonetheless, beneath the title of ‘ISHQ Collection’ the painter has groped the bodily and metaphysical world with an internal eye mostly related to mystic faculty of thought and spirituality.
Except for the figurative work, Rahat additionally put on display, few frames of abstract or conceptual nature. A big painting with blue paint utilized vigorously in a circular motion around a really delicately rendered golden square, could lead on a viewer to the quadrangle stability that the Muslim ideology expresses within the idea of the paradise (Jannah) or in the concrete appearance of the Ka’aba. The gyrating brushstrokes, in blue, might also be linked to the round movement of Tawaf (an essential observe of Hajj) in relation with the black dice; Ka’aba.
Along with the summary frames, the figurative canvases had been in firm of the symbols and objects, you could find traditionally in the Persian Literature and Art. A portray titled as ‘The Burning Moth’ appears as a real expression of the centuries previous idea of the love of a moth for the burning candle, which is actually a symbolic reference of a human as a moth for the ultimate love of his Lord (Allah), for Whom the adjective of light (Noor) is vastly acceptable.
One other painting of this show, named as ‘the Gentle and the Moth-2′, is discovered bridging the worldly and mortal lifetime of human beings with the eternity and holiness that have at all times been longed for by the mortal man. The great thing about this portray is the style and interpretation of many unspoken feelings normally associated with the lady of the East who prefers to be burnt to ashes in love, emotions and wait, over expressing her true miseries of loneliness and disappointment. Here in this frame, the mixture of a young and emotionally weak woman and a fragile moth is quite remarkable. The reclining posture of the young woman shouldn’t be accustomed to the western portraitures of the reclining lady; this portray clearly reveals the true attitude and position of the woman of India or Pakistan, or in broader sense, of the South-Asian girl as she lies on her belly with her hair locks going across her again over the scapulas while dreams, tightly captured in fists letting ajar eyes remain empty.
The barrenness of the eyes once more attracts the onlooker’s eye in ‘the Deluge’ where the same South-Asian young and fragile woman is painted sitting in a balcony or a window. In this painting, her desires are shown, in a very creative and conceptual deception, sunk in deep waters of the flooded terrain within the background the place solely minarets of a mosque and tops of the sunken trees are obvious. In this painting, the artist has expressed, very skillfully, the sense of being deluged emotionally after the torrent around. The golden lining on the rear silhouette of the girl causes the luminosity that provides a devout contact to this frame.
The use of gold in Rahat’s paintings is not solely suggestive of a relationship of these frames with the normal Muslim Miniatures, nevertheless it also advocates the gleam which is immediately related to holiness and purity; gentle as opposed to the darkness.
On this present, the artist additionally presented a video in connection with the title ‘ISHQ’. That video featured the life and activities of Malangs and Darvishes at numerous shrines of Lahore. It was an fascinating clip relating to life fashion of those self-indulged Malangs who claimed to be burning in the hearth of true love or ISHQ. Interestingly, the video didn’t characteristic any girl opposite to the collection of paintings where image and imagery of woman seemed pivotal.
In 2007 at the annual present of Artists’ Affiliation of Punjab (AAP), Rahat Naveed displayed a portray of summary nature which was completely different from the signature figurative work she was well-known for. That was a nonfigurative frame with a golden square within the heart of a properly painted crimson canvas titled as ‘the Square’. It was quite an enormous transformation of style, holding in view the standard fashion of Rahat; though, she had been inserting few geometrical and floral components and objects which ultimately served a way of spiral-continuity via her whole work.
The ISHQ collection, if seen in its personal capability, can make a viewer go astray with the pressure of emotional discharge the painter has exercised in few of her frames. Nevertheless, in the event you would look on this display as the continuation of the beforehand conceived ideology and ideas, chances are you’ll end up, accompanying the artist, revolving across the centripetal thought of human yearning for everlasting love and eternity. The paintings of Rahat Naveed, present a revolving journey from figures to portraits, from portraits to objects, from objects to metaphor, and from metaphor to forceful strokes of summary renderings.
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