Zawar Husain — a true mystic
By Nadeem Saeed
MULTAN, Dec 2: Painter, calligraphist, poet, philosopher and art critic Zawar Husain died here on Tuesday after a protracted illness. He was 73.
Zawar Husain had been bed-ridden for the last four months owing to an infection in lungs. Therefore, he was not able to work at his humble workshop where he prepared artifacts in Plaster of Paris to meet his expenses. He died at the house of his younger brother who deals in antiques.
The ageing maestro earned his livelihood by preparing small decorative pieces and toys in Plaster of Paris. A true mystic, Zawar Husain sums up his philosophy of life in his poem Sood-o-Ziyan Se Mawara (transcendent of profit and loss):
Neeli sham se pehley
Jo kutch bechney ke laiq ho
Usey bech dalo aur phir is ke ivaz
jo kutch kharidna chaho
Kharid lo
Lakin yad rakho!
Zindgi ke azeem samraat asey bhi hain
Jo sood-o-ziyan ke in tokroon main nahi sama saktey
Jin ke tum malik ho
(Before the evening, sell whatever is saleable and buy whatever you want to have in return, but remember, some of the great fruits of the life are those that can not be contained in the baskets of profit and loss, which you have in possession)
Born in a large family in 1930 in Multan, Zawar Husain had a natural inclination for the aesthetic aspects of life. He used to draw images of the world around him, and this passion first took him to a government institute of textile in Shahdara to learn the techniques of textile designing and dyeing. Then he got admission at the then Mayo School of Arts (now the National College of Arts) in Lahore to do a course in paintings in early 1950s.
Ahmed Sheikh was then the principal of the Mayo College, and his wife Anna Molka Ahmed was head of the fine arts department of Punjab University. Ustad Allah Bukhsh was a frequent visitor to the college and discussions with him influenced the initial work of young Zawar as he also selected village life as his subject in that period of his artistic grooming. Later on, Zawar’s passion for poetry compelled him to illustrate Iqbal’s poetry.
He placed some 14 illustrations based on Iqbal’s poetry at an exhibition organized by Prof Molka at her department. Young Zawar’s work was well received by critics at the exhibition and he often claimed with authority that Abdur Rehman Chughtai started doing illustrations on Iqbal’s poetry after seeing his work. He however gave up lending illustrations to what he said poetry of others, and opted to illustrate his own poetry.
Owing to some unavoidable circumstances, he could not continue his studies at the Mayo School and had to settle in Multan along with his family. However, his lust for knowledge kept him in the company of books even though he had to do odd jobs to make both ends meet. His subjects later assumed the form of an eloquent metaphor in his paintings and poetry in which he depicted the interaction of man and nature in different forms.
Renowned writer and poet Ahmed Nadeem Qasmi once wrote: “We had painters who were also writers and writers who were also painters, but their exalted virtue had given minor status to their other quality. However, in Zawar Hussain, both the qualities can be found side by side. Zawar has founded an illustrated mysticism by conjoining metaphysics and physics in his paintings and poetry.”
He has left behind two books of his illustrated poetry Akeli Hava and Shakh-i-Viranah-Dil, while a collection of some his works in prose has also been published in the form of two books Tehzeeb and Jadeed Fun-i-Mussawari. His critical essays on art and literature were often published in literary periodicals like Mah-i-Nau and Adabiat. In the later years of his life, Zawar Hussain started taking interest in political philosophy and his book on secularism was in the press when he breathed his last.
Zawar could not leave Multan and thus slipped into anonymity in the world of art despite the fact that his seclusion brought maturity of contents both in his paintings and writings. He often expressed the bitterness of his anonymity by saying that Multan is the city of feudal lords.
Zawar Hussain was one of the founding members of the Multan Arts Council. But, the council did not bother to organize an exhibition of his works at its splendid building constructed a few years ago. He often blamed what he termed the anti-art attitude of the council for his obscurity.
Condoling with the bereaved family, Zila Nazim Riaz Hussain Qureshi announced that the district government would name the art gallery of the arts council after Zawar Hussain.
Transcendent of any feelings of profit and loss, Zawar Hussain either sold his masterpieces cheap to the art collectors or gifted them to friends and admirers. His brother told this reporter that Zawar Sahib had with him about 50 pieces of his work at the time of death. Four of his paintings are in possession of the famous Lahore Museum while several are with the Punjab Arts Council.
He was laid to rest in a graveyard adjacent to the Nishter Medical College after the Isha prayers on Tuesday. His admirers from all walks of life attended his last rites. He is survived by a son.

