sd1In an interview, he recognized the centrality of these forms to his work: “In the anatomy of these gigantic plants I found the essence of calligraphy. Everything that I have painted since then — a city like Rawalpindi, buildings, a forest, a boat, a table or a chair, a man, a mother and child, or a woman—has been based on calligraphy, which in itself issues from the structure of the cactus.” The transition is evi­dent in works such as Genesis: Lady amidst Mountain Cacti (ca. 1957) ,  in which the woman’s face and limbs are painted in a realist manner but the landscape around her and her sari have been fractured into thorny, angular planes. [X]

The Pakistani painter Sadequain on the calligraphic roots of his paintings and the recurrence of cacti in his work. This work is Lady Amidst Mountain Cacti (~1957).

Notes: I am very uncertain about the notes for this painting – and it’s not the first time I have found auction notes suspect –  looks less like Hestia with a lamp and more like a lady in a sari (albeit kind of reversed) with a batua (like a reticule).

About Anu M

A potted history of Indian clothing and fashion.
This entry was posted in 1950s, Calligraphy, Islamic Art, Pakistani Art, vintage art, vintage fashion, vintage sari and tagged , , , , , , , , . Bookmark the permalink.

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