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The month-long 12th Biennale Asian Art Exhibition organised by Bangladesh Shilpakala Academy began in the capital on March 5. Prime Minister Khaleda Zia inaugurated the exhibition as chief guest at the Osmani Memorial Hall. State Minister for Cultural Affairs Begum Selima Rahman was also present at the function. The artworks are on display at the Osmani Memorial Hall, Shilpakala Academy and National Museum in Dhaka. 33 countries from all over the world are participating in this event and they are Armenia, Australia, Bhutan, Brazil, China Cuba, Egypt, Estonia, Indonesia, Iran, Japan, Jordan, Kenya, Kuwait, Kyrghystan, Lithuania, Malaysia, Maldives, Mexico, Mongolia, Myanmar, Namibia, Nepal, Oman, Pakistan, Philippines, Qatar, Republic of Korea, South Africa, Sri Lanka, Thailand, Turkey and hosts, Bangladesh.
   ‘Dhaka has already become an important cultural center in Asia for nurturing the fine arts and Bangladesh has been organizing Asian Art Biennale since 1981; important to note that, the periphery of this event has been extended to Latin America from this event. ‘The Asian Art Biennale, the aesthetic festival of fine arts is the pride of Bangladesh,’ says Ahmed Nazir, director general of the Shilpakala Academy and chief coordinator of the event.
   Shilpakala Academy planned a competition to mark the 12th Asian Art Biennale. Sadeq Khan, Wu Xiaojiang, Iromie Wijewardena, Le Thong and Syed Jahangir reviewed the pictures as judges. Three artists won Grand Prizes while eight won Honorary Prizes. Hiroshi Fuji, Dhali Al-Mamoon and Sedaghat Jabbari were selected for the Grand Prize.
   Australia : The works in this exhibition create images glorifying the fictional, the slippery, the mysterious, the ghostly and the fake. As a result, our vision of the world is expanded, distorted, questioned, illuminated, and played with.
   Darren Siwes’ images of overlaid spiritual figures on the landscape, which refer to the history of Aboriginal Australians is perhaps the only located work in the exhibition but even these have an element of ambiguity. Rather, the works refer to issues and symbols easily understood across cultures. The organisers hope that viewers will see new work that is provocative and memorable.
   Brazil : Art brings forth folk history and master artists have taken the audience to the enchanting realm of contemporary Brazilian art. Brazilian works observe the world from their unique perspective and thus, form different unique artistic styles.
   ‘We vividly define Brazilian art as a cultural crossroad because in our country, aboriginal artistic influence, African and Asian styles have thoroughly blended with modern American art trends,’ explains Brazilian artist Antonietta Tordino.
   Estonia : Estonian professional art is a little over one hundred years old and is traced back to the time when Johan Koler and August Weizenberg hastened to Rome. The next generation rushed to Germany and then to Paris. While all this took place in other European countries, to this day, Estonians are disturbed by the question of the originality of their professional culture and quietly accept being referred as provincial. Although Estonian visual culture was by nature traditional and conservative in both the 19th and 20th centuries, new ideas have nevertheless shone forth in certain periods, thanks to which, the culture may be described as peripheral not provincial.
   A peripheral culture, although different from that of the centre, does create original ideas that have decisive importance for the development of a national culture and this culture has defined the distinctiveness of its periphery through three elements. ‘The first of these is tradition and a respectful attitude towards a realistic style. The second point is the skill to force longer or shorter periods of avant-garde art into very brief timeframes, as a result of which, intensive and distinctive local developments have taken place. Then, there is the special relation between the Estonian artist and a desire to portray freedom,’ says Sirje Helme of Estonia.
   ‘For me, Estonia is a metaphysical phenomenon, timeless and at the same time striving towards some sort of virtual future. Estonian art has complex relations with time, and having never wanted to portray temporal matters, has portrayed time with precision. The present moment is a turning point as young artists no longer construct ivory towers. Their art deals with “here and now”, and I do not consider that to be uninteresting material,’ adds Sirje.
   Iran : Iranian artist Sedaghat Jabbari Kalkhoran, a professor of Iran Association of Calligraphers and also a faculty member of Department of Fine Arts, Tehran University, has created a new dimension in the composition of Holy Names, for which he thinks he has been awarded the prize amongst several deserving art works.
   ‘The aim of the exhibition is to create an interaction between a traditional and a modern approach to art. An artist must be contemporary in views, ideas and presentation, which gives art a unique tone. The composition of holy names is presented like a canvas of contemporary painting,’ said Kalkhoran.
   The traditional environment, decoration and architecture of Iran are created with a golden background on the canvas and different shades of green, blue and chocolate have created a wonderful composition of holy names.
   Japan : ‘The Japanese participation in the 12th Biennale represents a moment of transition or evolution from a number of perspectives,’ says Japanese curator Roger Christopher McDonald. Curator of Arts Initiative Tokyo (AIT) and commissioner for the Japanese team at the Biennale this is McDonald’s third visit to Bangladesh.
   ‘The two Japanese artists featured come from different generations, while sharing common themes and approaches they represent unique voices from their respective generations. They also come from what we can refer to as peripheries within Japan,’ says Christopher.
   Speaking about the remarkable aspects of the biennale, he said, ‘The festival is unique. I have participated in many exhibitions and I have also initiated many in Japan and other foreign countries like New Zealand, Singapore, Norway and others. But, none of these festivals are like the biennale in Bangladesh. Until now only Asian and African countries used to participate here. This year, the organisers have included some Latin American countries; however, no European and North American countries have been invited for the festival.’
   Jordan : ‘The exhibition presents modern art works that reflect on the individuality of the specialised art scene in Jordan,’ says Jordanian artist Hakim Jamian.
   A relative delay in the emergence of art in Jordan has not prevented it from securing a progressive place in the international arena.
   According to Hakim, this participation presents and highlights the Jordanian art scene through a bouquet of young artists who are yet to be celebrated in a worldwide assembly.
   Sri Lanka : At the core of Sri Lankan fine arts the presence of Buddhism is undeniable.
   ‘In the 12th & 13th century, influence of Hinduism diversified Sri Lankan fine arts. Invading western powers changed the mode of our whole fine arts as well as our culture. Our people recognised different concepts and different types of techniques,’ says Jagath Ravindra, an artist.
   Later in the 1940s, a new trend promoting sculpture and heritage emerged. Students of Shanti Niketan provided the leadership and it fuelled an anti imperialistic struggle throughout the country.
   ‘The artists of our era are experiencing various concepts and methods to widen the horizon of our fine arts. Political and social affairs of our society provide the motivation to new comers for their growth in the field of globalization; as a result, we can see more liberal creations nowadays and this creates hope for the future,’ adds Jagath.
   Philippines : The art history of the Philippines was greatly influenced by the country’s colonisation by the Spanish, Chinese and the Japanese.
   Filipino artist Ramon M Billanes explains that, after years of developing, artists have slowly but surely showed that the country can formulate one distinct mark on the canvas of world art that is uniquely Filipino.
   Namibia : The art landscape of Namibia is quite unique. It is a mosaic of patterns: old and new, both simple and complex. On one side there is rock painting that is thousands of years old and is being sustained and practiced by traditional artists and on the other side there are modern artworks inspired by the richness of a distinct culture. Since independence, art in Namibia has undergone a mini renaissance.
   Several new stylistic developments are still in their initial stages with many young artists evolving their own experimental work.
   Mongolia : Mongolian art reflects the intellect and the unique philosophy of the nomadic people. Since Paleolithic times, when rock paintings were created in Mongolia, Mongolian art has undergone different stages of development and changes.
   The Mongol empire experienced a unique period of cultural exchange and it served as a bridge between the east and the west. Since the beginning of the 20th century it has undergone a considerable transformation as a result of social and political changes in the country and influences from outside. Russian influence on Mongolian arts and culture was tremendous and most essential in the formative period of modern art in Mongolia. During the social regime, many Mongols went to study art in Russia or in eastern bloc states.
   However, modern art has developed successfully creating masterpieces and bringing up a new generation of Mongolian artists.
   South Africa : Over the centuries, South African art, as in other countries was closely linked to its socio-political situation. Whatever occurred historically was reflected in the visual arts of the country. In the early 20th century, black artists, despite their rich cultural heritage, initially aspired to imitate so-called euro-centric subject matters such as portraits, landscapes and still life.
   Apartheid as a political system influenced almost all artists in the country and by the 1970s the seeds of Protest Art were sown. The American lifestyle penetrated the broader culture, popular art flourished and modernist styles influenced much of the art created in the country. Afterwards, artists have had more opportunity to exhibit abroad and stronger cultural ties have developed.
   The artworks included in this exhibition reflect a tiny microcosm of the broader picture of the South African art making process. The approach to technique, medium and subject is diverse and is intended to underline the transitional cross-cultural process that is taking place. The exhibition provides powerful insight into the dynamic process of art making in the Southern African continent.
   Maldives : ‘A look at contemporary works points to interesting links. On the surface, we find a fascinating presence of visual Maldives - the splash of delicate hues and refreshing colours, the transparency of turquoise waters and the placid motion of the waves. Underneath, we find tremendous strength and forcefulness in the way forms are handled and restructured, in the stark boldness of realistic renderings and in equally confident experiments with forms and abstractions,’ says Mijarul Quayes of Maldives.
   Mexico : The Mexican visual artists in this Biennale share a common sense of craftmanship. Painter Guadalupe Morazua expresses unlimited forms and colours that emerge as a spiritual whisper dispossessed of all obviousness in the abstraction of her intimate landscape.
   Sculptor Abel Ramirez Aguilar reveals his pre Columbian essence, highlighting feminine sensuality in his bronze work, Genesis kiss. Taking back Aztec, Toltec and colonial origins, Gabriella Ferreiro’s ‘fragments of being’ utilises in her work a recurrent symbol conformed by four superimposed modules in a geometrical composition.
   ‘Arbol de la Vida II’ of Rosa Maria Burillo is a recurrent evocative interpretation that draws from the cultural sense of belonging, with a contemporary reasoning under a sensible vision. Gabriel Rivera reveals in his work ‘Cuauxochiti; a surrealist landscape in which the key element is a pole decorated with flowers and colorful flags; all reminiscent of her childhood dreams.
   ‘The prime objective of the Biennale is not only to reflect on the progress of two years but also to appraise the achievements of Asian art. At the same time it aims to make us more visionary, confident and curious about heritage,’ concludes ABM Salahuddin, Director of Fine arts of the Shilpakala Academy.

For Gulgee, the famous and celebrated artist of Pakistan and the subcontinent, life has been a journey in more than one sense, giving him thrill and bliss that are both sensuous and ethereal. He has been to many places and done things that are varied and glorious. At the age of 79, though the visits have become fewer, he remains as zestful a traveler in the realm of the intellect and the senses as he was when the journey began quite early in life. In his inward journey, he remains and intrepid and ever curious.
   Born in Peshawar, Gulgee went to Aligarh University to study civil engineering and came off with flying colours. His academic achievements in the university broke all past records and the outstanding stature attained remained unsurpassed. Higher studies took him to Columbia University where he completed post-graduate studies with straight ‘A’s and in record time, too. He was offered a full scholarship for doctoral studies by Harvard University, a recognition that any scholar would be proud of. When he successfully completed the academic spell in Harvard, partition had taken place and Pakistan emerged as an independent country.
   Gulgee returned to Pakistan, after a short spell in Sweden, with the ambition to start a career that was close to his heart. It was not as an engineer but as an artist that the heart’s desire could be fulfilled. For a person who had prepared himself for a career that had bright prospects and immense prestige, to aspire to become an artist with an uncertain future was not only unusual but it also made him appear as a maverick. Unlike engineers, who were in great demand and enjoyed immense prestige, the artists had a struggling life, with scant social recognition. Gulgee was aware of this but could not completely wean himself away from the enchantment of the muse of art. He decided to work as an engineer for sometime before becoming a full time artist. As an engineer he travelled to different parts of Pakistan and to Afghanistan, all the time making sketches and drawings of the sights and people that he came across. His skill as a draughtsman honed, during his training as an engineer, helped him in these early forays into the world of art. One has to look at the sketches of national and international figures and of ordinary men and women that he made using pencil, pen or pastel on paper to realise that he is as good at drawing as any of the Renaissance artists. They are detailed and expressive like photograph and yet stand out as more than mere imitation of reality. The stamp of creative imagination is unmistakable in the realistic works showing faces of men and women and animal figures. In representing people in drawings and later in paintings, his focus was on bringing out the soul, the inner appearances, of his subjects. By merely looking at the portraits of people, famous and beloved, one instantly gains an insight into their character and psyche. The experience of looking at the faces comes to haunt long after it is over, so powerful is their hold on the viewer. It is like getting acquainted with an interesting person and beginning a long-term relationship.
   If one were to chronicle Gulgee’s incredible progress as a painter (and later as a sculptor) that fulfilled his life’s ambition, giving him name and fame, one has to start with the portrait works that brought him to the forefront of the art scene in Pakistan. It began with the pastel sketch of Aga Khan that he submitted for auction in 1953 to help raise fund for Pakistan Arts Council, Karachi. His entry fetched the highest amount and drew the attention of the artist community. In 1957 he was commissioned to do the portrait of King Zahir Shah of Afghanistan. The portrait pleased the King so much that he invited Gulgee to Kabul to paint the portraits of members of Royal family, an invitation that became a turning point in his career as an artist. The portraits were all done in oil, a medium he had mastered by then through practice. In Kabul he began experimenting with making portraits using coloured marble mosaics, which later was developed as a technique using Lapis lazuli, an innovation in a media that was both breath-taking and aesthetically pleasing. Portraits done with Lapis lazuli included those of King Zahir Shah of Afganistan, the Late Aga Khan, Muhammad Ali Jennah, Prince Aly Khan, Prince Abdullah Faisal and King Feisal bin Abdullah among others. The seamless continuity in form created by small pieces of Lapis Lazuli and the life-like impression in the appearance and looks of his subjects belie their creation in opaque stones and exerted the same effect of realism as is usually achieved with repeated use of colours in oil painting. The portraits create the illusion of a photograph in their details and perfection or a finely executed painting with modulated shades of colour on canvas. The portraits stand out not only because of the celebrity status of his subjects but also, and perhaps more importantly, because of the subtle transformation of the tonalities of the stone pieces through their connection and dissonance. The technique is difficult because of the need to have innumerable small pieces, their arrangements into various shades and colours and the requirement of relating the pieces to the form of the subject. For his innovative work with Lapis Lazuli in mosaics to make portraits and figurative works (Horses, Polo) he has been credited with resuscitation of the Byzantine art of mosaic but he has achieved more than this because he has taken the idiom many steps ahead, particularly in investing the faces of nobility with human qualities that are contemporary and yet eternal in nature and in making animal figures vividly alive. His success is most pronounced in shedding the veneer of aloofness and distance in the appearance of his well-known public figures, bringing out the inner persona shaped by sensitivities that are subtle but warm as ordinary mortals. It is this intrinsic quality, not the importance of the subjects, that render them into enduring works of art.
   Portraits done by him in oil demonstrate the same baring of the soul and the inner world inhabited by his subjects. Thus the patrician look of the portrait of Riffat is tempered by a sweet yearning conveyed by the expressive eyes and the demurely curled lips. The seemingly cold stare of Prince Karim Aga Khan peels away, as one looks at it closely, revealing a vulnerable human being. An exquisitely prim face, washed in elegance and soft glow greets the viewers in the portrait Zaro Gulgee, done with minimal use of lines in pencil on paper(1965).
   It was not always nobility and aristocracy which found place in his representational works but also ordinary men and women in their daily lives. Showing a group of ordinary men and women, sitting by the road side, he points out their body language, expressing the travail and despair of the poor. Titled “My People”, the work done by marker on pastel, shows his sensitivity and skill in expressing a tragic human condition with minimum use of space. Similarly, and perhaps with greater delicacy, he captures the rhythmic and pirouetting figure of a young girl, freezing her motion, in “Dancer”, done in pencil on paper. It has the beauty and the perfection of a miniature. The sketches of Kabbadi players loin clothes, a group of Pathans and Villagers, using marker and pencil show his loving care and tender feelings for these subjects.
   In an audacious departure from conventional categorization, one may describe the animal figures in his oeuvre as being works of portrait. As in the case of human subjects, in the case of animals also Gulgee has been realistic. Again, in the ‘portraiture’ of animal figures, as in his portraits of human beings, the objective was to bring out the primal character, the animal energy and the emotions of the moment. “Horses” done in oil in 1959 shows two white horses against a crimson background in an agitated and restless posture. The flowing tail of the horse, with its back to the viewer has been portrayed in a state of stalled motion as it commiserates with another horse whose face is contorted in pain. The sketch of a camel done with black ink on paper in the sixties, similarly shows the animal in a highly expressive form, with great economy of lines. The brush drawing of a horse on paper dated 1970, is again a study in motion and controlled energy. Even ‘Horses’ done in Lapis Lazuli has the same demonstration of animal energy and motion as the focal interest. In the oil painting titled “Camels and Man” the quiet grandeur of men at work and poise of the animal subjects are shown through sheer simplicity and spontaneity of movement. This figurative work of man and animals evokes a sense of normalcy and calm redolent of pastoral life. In their appearance as a tableaux the men and animals become a collective portrait bound by a mutual bond. In all these works the economy of line and colour is prominent. Equally striking are the angles used to portray the subjects with dramatic effect. In this respect the city seen in “Karachi” done in pencil is worth mentioning.
   Though his initial fascination with animal figures has waned, just as portraits have become rarer now, he has not given up those subjects altogether. Moving on, he takes a break from time to time and revisits the past, not out of nostalgia, but in a spirit of creating it anew, even if briefly. When asked what was his currently favourite medium and subjects he replied, “all”. He never turned his back on the past, even when engrossed in innovating and re-inventing himself. There is continuity in his journey, which is a combination of going forward with the determination of an explorer and retracing the steps occasionally, in a mood of calm composure.
   Gulgee’s abstract paintings have drawn attention of critics, both at home and abroad and have been widely acclaimed. Some people saw in these the influence of the American Abstract Expressionist school but Gulgee denies this and maintains that he started doing abstract work long before becoming familiar with the works of American painters in that genre. Looking at “Creation”, a work done with ink on paper in mid 50s and “Medley of Nature”, also done in mid-50s in the same medium, one is convinced that this was actually the case. ‘Space’, an oil painting and a much bigger work done in 1960 could not have been influenced by American abstract expressionist artists inspite of the apparent resemblance to their works because of the date and also on account of the detailed curves and lines, each done separately with care. It gives the impression of a mosaic created deliberately and not through wild outburst of impulsive energy. In these early abstract paintings he is more methodical and his brush work is restrainned.
   But it is the abstract paintings with broad brush strokes of various colours that distinguish him as an original and free-spirited abstract painter. In these works, starting from sixties and continuing till the turn of the century, he has freed himself from the academic constraints and given free rein to his impulse and inner drive. What distinguishes these abstract paintings, apart from the multi-coloured and broad brush strokes, is the sense of motion and restless energy unleashed on canvas. Defying geometrical structures and orderly compositions, the forms twists and turns and rises above in a spiral or crashes with great force like waves . ‘Unity’, done in 1993 has small brush strokes forming a horizontal base at the left and the form suddenly rises like a whirlwind in the middle, broadening in width and then swerves to the upper right in a forward movement of great speed. Inspite of broad brushstrokes and forms that move horizontally, vertically and diagonically over a large area, his abstract paintings leave enough space to give a sense of perspective which create a three dimensional quality. The exception to these are few works like Cosmos (1970) and Unity (1974) in which blobs and splash of colours take up the entire space. But the numerous small forms that coalesce to-gether in some places or appear to float independently are unlike those that usually characterise western abstract art. Evidently, in these paintings intellect has taken over sensual impulse and there is some sort of design that is deliberate and calculated. These evoke admiration but it is the abstract paintings with broad brush strokes knotting colours in a round shape, sweeping across the canvas like whirlwind, rising like waves, speeding like shooting stars and erupting like volcano and in many such vibrant manifestations that have become Gulgees signature style. Except being abstract these have little resemblance with western artists in the same genre because his abstract paintings burst with energy and pulsate with life, celebrating existence in the world of the infinite.
   One can say that it was one step from his type of abstract expressionists work to the calligraphic paintings that he took up next in a process of spontaneous progression. Calligraphy is an old and familiar form of artistic creation in the muslim world and also in China and Japan. But while calligraphy by muslim artists have adhered to the canons of traditional script writing style and the Chinese and Japanese have also done the same using black ink, Gulgee broke the tradition in a bold move bringing the abstract painting mode to calligraphy. This has radically changed calligraphy painting and added a vibrant dimension to abstract painting with limitless possibilities. As in the case of abstract painting, in calligraphy also, Gulgee has given freedom to his inner feelings to create the form by modulating the script to resonate with his perception of divine beauty. In this he has stretched his soul to reach out the world of the mystics. As if this was not innovative enough, he stunned the art world by sculpting huge calligraphy in bronze and copper and placing these as freestanding sculptures in public places.
   From portrait painter, through abstract paintings, to a calligrapher, Gulgee has travelled far and wide. His chequered career has taken him to many places in his country and in the world beyond. But essentially the journey has been more within his heart, untrammeled by dictates or choices of others. Even when he took commissioned works he was the final arbiter of the style. To-day that style places him among the great artists in the world, past and present.

Gulgee, the celebrated living artist of Pakistan, was in Dhaka recently on the occasion of the 12th Asian Biennale. He was the chief guest at the inaugural session of the seminar on ‘Gender perspective in Asian Art’ organised by the Shilpakala Academy. Hasnat Abdul Hye, art critic and convenor of the seminar, met him after thirty six years. Later, in the evening he had a conversation with him at Bengal Shilpalaya’s Bengal Café. Excerpts from the conversation:
   Question – You are visiting Dhaka after 48 years. What are your feelings?
   Answer – It is wonderful to be here. People, I and my wife Zaro have met, have shown so much love and affection. We are overwhelmed.
   Q. What is your impression of the Asian Art Biennale?
   Ans. Excellent. You have shown respect and given opportunity to artists. More beautiful things will happen. Artists feel happy to be here. It has become an important international event. Organising something like this is difficult. You have done it nicely.
   Q. You are already famous and financially solid. What motivates you now.
   Ans. To express myself. There are so many ideas, everyday new ideas appear in my mind. I feel restless if I cannot express them. It will be always like this.
   Q. What is your favourite medium?
   Ans. Mosaics with Lapis lazuli.
   Q. You started with sketches and drawings and those early works brought you recognition. Do you still draw and sketch?
   Ans. Yes. I use all mediums though mosaic is my favourite.
   Q. You are now-a-days working mostly with oil.
   Ans. Yes. I do a lot of calligraphy in oil.
   Q. Your calligraphy works look like abstract expressionist paintings.
   Ans. Many people say that. You see, I started doing abstract paintings in the Fifties without knowing anything about the American Abstract Expressionist movement. I used broad brushworks using several colours and gave speed and motion to the forms. These are original, not imitation of western art.
   Q. In what way is your calligraphy different from those of others?
   Ans. Forms made with broad brushwork using many colours that appear side by side. The scripts depicted go in all directions, horizontally, vertically and diagonally. I do not follow the conventional pattern of script writing. I have been studying Islamic Calligraphy for 50 years. Calligraphy writing reached its peak in the Mathnavi of Moulana Rumi. But there was no new style after that. I have tried to develop a new style.
   Q. What attracted you to calligraphy?
   Ans. An inner urge. Mystic feelings came over me. All calligraphers are mystics.
   Q. How have the public and art critics responded to your calligraphy?
   Ans. Enthusiastically, warmly. Even westerners have liked them after initial reservation.
   Q. How does non-western art compare with western art today?
   Ans. The west is very advanced in science and technology. But they are not superior in arts.
   Q. But they have a rich and long tradition. Doesn’t that give them a basis for superiority?
   Ans. That tradition is about the past. They have not produced any Rembrandt or Titian. You know why? Art is a matter of the heart. It is a love affair. But artists in the West now have money in their heart. They have sold themselves to the market.
   Q. What do you think of young artists in Asia?
   Ans. There is so much talent. But they must be alert. The west would like them to do derivative work, like cubism. They must stick to their originality and tradition.
   Q. What roles do art critics have in promoting arts?
   Ans. They have a useful role. But they should be very honest. If they see rubbish they should say so.
   Q. What role has your wife played in your career as an artist?
   Ans. She has been of great help. She has always inspired me. And you know, she is not greedy for money. She does not care about selling my works. She only cares that I go on painting. She is wonderful.
   Q. Do you work everyday or does it depend on your mood.
   Ans. When one is in love, there is no need of mood.
   –Hasnat Abdul Hye