Not just flowers for Gulgee
By Niilofur Farrukh
THE year 2008 was ushered in with a gunfire concert in Karachi instead of a fireworks display as in the rest of the world.
As the gunfire on New Year’s Eve went on uninterrupted for the better part of an hour, it made one wonder if it was the revellers at parties or the extremists who since the 1980s had increasingly usurped the citizens’ freedom to rejoice, whether during the Basant festival or on New Year’s Eve.
This ‘trigger-happy’ culture in a brutalised society like ours transcends all social strata. The rich and, yes, even the educated, have no qualms about hiring gun-toting security guards, and they proudly allow celebratory firing in the air at wedding receptions.
The availability of firearms, dysfunctional law-enforcement agencies and the political mayhem over the last two decades have proved to be a lethal combination that has spawned unchecked aggression which threatens the fundamental rights of all Pakistanis. Violence, as we are aware, is a symptom of degenerative social disorders like bigotry, hypocrisy, megalomania and totalitarianism. As Pakistan reaches the full-blown stage of these epidemics, it has left the nation paralysed with a sense of helplessness, and has fractured the national spirit that holds the Quaid’s people together.
How we managed to journey to the precipice without reading the signs is a question we need to ask ourselves in all seriousness.
On this journey into chaos, the nation has lost great men and women to violence. Among important social and political leaders have been two eminent visionaries: artists Gulgee and Zahoorul Akhlaq. They were both murdered in their own homes where they should have been the safest. The outrage, anxiety and sadness caused by the recent murder of Gulgee in Karachi and the similar death by shooting of Zahoorul Akhlaq in Lahore a few years earlier, point to an inhuman will to destroy all that is precious and irreplaceable to a nation as the heroes that give it a sense of significance.
Born in 1926 in Peshawar, Gulgee was over 80 years at the time of his death. He had devoted over 60 years to his country. At the time of Independence, he was already a graduate of the world’s two important universities, Aligarh Muslim University and Columbia University. He attended Harvard University in 1948 to further his engineering studies.
When he decided to become a full-time artist in the 1950s, he chose to work from his base in Pakistan and brought recognition to his country of birth in much the same way as Picasso did to Spain and M.F. Hussain to India.
Monarchs and presidents like King Faisal (Saudi Arabia), the Shah of Iran, Zahir Shah (Afghanistan) and Ronald Reagan (US) among others selected Gulgee to do their portraits that hang in state residences and offices which brought Pakistani artistic talent into focus in world capitals. Pakistan decorated this outstanding son with every major civilian award that places him on the list of national luminaries. His legacy to Pakistani art is both significant and multifaceted. Gulgee, the portraitist, won early recognition with his stately paintings of world leaders in many continents. Done mostly in oil, these works capture the personality of his subject with elegance and élan. He received worldwide commissions for his rare lapis lazuli mosaic portraits. Gulgee’s eye for tonal detail supported by meticulous skill and ingenuity has given the art world splendid portraits in countless tones of blue crafted from this semi-precious stone.
His vision harnessed the energy of the gesture in Islamic calligraphy and fused it with the dynamism of modern action painting. An extensive study of calligraphic scripts led to complex innovative configurations and allowed him to move freely from the classical to modern and from gold encrusted richness to austere minimalism.
In the last decade, one could see the painter in dialogue with his son Amin’s calligraphic sculpture. In these works, this visual interface pushed the cursive alphabets to transcend the two-dimensional surface. His calligraphy appeared to rotate freely on a pivot as cascading strokes defied the limitations of the canvas.
Many were lucky to see his most significant works at the Gulgee museum located at his residence in Karachi. Over the years, it had become a cultural landmark where visitors sought the memorable experience of meeting Gulgee surrounded by his art.
Gulgee’s brutal murder has created a vacuum and the decision to respond to this national loss rests with each one of us individually and as a nation.
We can either let this distressing act overwhelm us with defeatism or spur us into action to support Gulgee’s heirs in the mammoth task of saving his legacy for his people.
Two models have been seen in recent times. One is that of the Laal Foundation which was founded by Sheherezade Alam after the murder of her husband Zahoorul Akhlaq and daughter Jahanara. With the help of friends she turned her grief into determination that took the initiative to archive all that was left in the artist’s studio. This included his paintings in various stages of completion, drawings, sculpture, writings and casual notes along with a lifetime of memories in photographs. With the team Sheherezade was able to conserve his art lying in storage and has published one book within two years with another one to be launched in 2008. The art community responded generously to her call and over 100 friends, peers and students contributed a ‘takhti’ painting each for a show which was exhibited and auctioned in Gallery Sadequain, Karachi, in 2002. This was their tribute and contribution to an influential artist of Pakistan.
The other model was one in which the absence of timely intervention could not salvage the art and studio of Bashir Mirza after his death. With no authoritative figure or institution to negotiate with the heirs, all his personal and professional material has been lost with the exception of a few paintings that are with the artist’s niece and nephew.
Today, fragments of the history of Pakistan at Gulgee’s museum need to be rescued in a similar way. This can best be done by thinking beyond flowers and requiems to an initiative by citizens to set up a Gulgee Trust with private endowments that can be managed jointly by Gulgee’s heirs and concerned Pakistanis.
To shake ourselves out of this inertia and despondency, we need to prove with deeds that senseless violence beyond our control can take away our heroes but we still have the will to honour and preserve their memory in a befitting way.
asnaclay06@yahoo.com

