The reality behind the realistic art
Farhan Siddiqui
The debut show of Ali Azmat affirms the high level of the drawing skill
he holds but one is yet to see whether he uses his tool beyond its
conventional scope, writes Quddus Mirza
How close to reality is the realistic art? The exhibition of Ali
Azmat's work (from October 26 to November 3 at Alhamra Art Gallery
Lahore) provides the opportunity to ponder on this question.
It is generally considered that the realistic is a kind of art based on
the direct representation/reproduction of the world as it is normally
perceived. Looking at the practise of realistic art in our surrounding,
one is inclined to re-view this notion of realistic art. The realistic
paintings are often made in the form of landscapes, still lifes,
portraits and figure studies. All these subjects require a great deal
of observation. In the case of our own art, the observation seems to be
limited. It is not exercised in its wider sense, as observing the
world/surroundings and then selecting specific elements to be
transferred into art. But has become confined to looking at a few
subjects in a particular manner; for instance a specific part of nature
for landscape, a combination of certain objects for still life, or a
definite kind of person for portrait painting.
Though various artists, working in realistic mode, execute different
pieces, but it is not a surprising occurance that many landscapes,
portraits and still lifes fall into a uniform pattern. The landscape
which is popular among the painters of Punjab, has a prototype in the
work of Khalid Iqbal, which is repeatedly followed by a lot of artists.
Though the subject of landscape has immense possibilities but the
painters have restricted themselves to a calculated method -- of
dividing the canvas in a similar fashion between sky and ground, a
specific kind of trees and a particular stage of crop are often
painted. There seems to be an artistic contract (as opposed to 'social
contract') that human figures are not painted at all or presented as
insignificant components in the composition. Due to this uniformity of
construction and similarity of approach in looking at nature, one feels
that these landscapes originate less from nature than from a mutual
understanding of art.
The same can be stated for the still lifes, a genre which has unlimited
scope, but is confined to the paintings of objects of a certain kind
and character. It is constructed following a custom and singular vision
according to which a good still life must have a piece of cloth,
hanging next to or spread under some samples of crockery and a number
of fruits and vegetables. All these ingredients form an ideal image of
still life. Now various artists, seeking individual qualities in their
works, add other elements, like changing the scale or using only one or
limited colours, but a primordial configuration of still life resides
in the minds of creators and viewers. In our art, cultural artifacts
are often included in the combination of these patent objects to turn
the Western genre into a localised art form.
The painting of portrait and human figure treads on similar lines.
There is fixation with a certain type of model that reveals the
presence of an archetype vision concerning the portrait and figure
painting. After finding the suitable model, another convention is
followed by asking the model to pose in a way that is already defined
and painted numerous times. This is analogous to the concept of 'pose'
carried religiously when people get themselves photographed -- sitting
or standing in an authentic posture already accepted and defined.
A realistic art based not on the observation of real life, with a range
of possibilities but on the stereotypes is like using jargon in the
language and is indicative that instead of art following life, life is
perceived according to the norms of art. This is in harmony to the
changing habits in our social discourse; in the context of interaction
of public with the television. It is often experienced that people in
emotionally charged situations, behave and speak in a manner they have
seen/learnt from the T.V. plays.
In the work of Ali Azmat, the reality is represented in a similar
fashion. The drawings are based on observations from real life. The
body of work can be divided into various groups according to the
subject matter. Each drawing demonstrates and affirms the artist's
level of understanding of human anatomy, knowledge of foreshortening
and the recording of tonal gradation. One set of drawings comprises the
objects related to the artist, such as his personal belongings and
articles of his studio. In some drawings a pair of shoes is depicted, a
motif that may have its origin in Van Gogh's painting and refers to the
ideal of heroic character and struggle of the artist, associated so
much with the Dutch painter.
There are a few landscapes in this show. These conventional drawings
lack the vigorous handling of the material, evident in other works and
do not capture the subtleties of change of light and dark of a place.
On the other hand these appear as generalised (it is an artistic
reference not a political) depiction of an area. The generalisation of
landscape stems from a notion that no one will be able to compare the
drawn landscape to the actual location to find out the accuracy of the
observation, in contrast to portrait and figure drawing, in which the
resemblance to the model is essential and can be noted.
The works dealing with the human form constitute the major component of
the exhibition. The artist portrayed himself, his friends, ordinary
models and female figures. There is a division of approach relating to
gender in these figurative works. The portraits and figures of artists,
his male friends and other men are executed in every conceivable
posture; lying, crouching or relaxing. There is a series of reclining
figure, recording the slightest changes in the posture of a half draped
sleeping figure. Whereas the perception of female figure is not purely
based on aesthetic principles. The artist himself prefers to draw
women, for him they are easily approachable compared to male models. In
the work of Ali Azmat the presence of female conforms the many notions
existing in this culture regarding women. The females (obviously) are
painted fully clothed -- with 'dupattas' on them. In contrast to men,
the women are not drawn lying on the bed or sitting in awkward
positions. They are represented in respectable postures, standing or
sitting elegantly in the chair. The standing women -- even in frontal
pose -- is drawn, looking at the viewers by way of side glance or
avoiding the gaze of the spectators by turning her head in other
direction. (as is required from an honourable female in our society).
This representation of women is further enhanced by portraying them in
submissive positions of holding hands together or bending the head
below.
There are a couple of drawings in which the artist concentrated on one
part and rest of the composition seems to fade in the whiteness of the
paper. This is in the tradition of orthodox portrait making, where
emphasis is placed on the face (the most recognisable feature of the
body). The other parts of body which do not hold the signature quality
and change the appearance with the change of clothes are not observed
as keenly, and swiftly merge with the colour of the surface. Only in
the works which artist describes as 'sketches', the totality of space
is seen and drawn. In these drawings the background becomes a
complementary part of the composition, rather than being a negative
space.
The debut show of Ali Azmat affirms the high level of the skill he
holds (not a surprising trait for anyone emerging from the Punjab
University). One is yet to see whether he uses his tool (the drawing
skill) beyong its conventional scope or it becomes the sole object of
his creative desires, like many great draughtsmen around.
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