January 12, 2008

Hues of infinity, swirls in time, realms of perfection — even in a country where art means little to most, and a society where the largely prevalent themes are illiteracy and poverty, art icon Muhammad Ismail ‘Gulgee’ was a household name. An artiste whose works seemingly surpassed both excellence and expertise, Gulgee won fame and renown across the globe for his artistic genius. The news of his death, reaching the public on December 19, 2007, truly shook art-lovers throughout the world.

Born on October 25, 1926, Gulgee trained as an engineer in the United States; securing, an MS in Hydraulics from the Coloumbia University, and another one in Soil Mechanics from Harvard. But, though he chose engineering as an initial profession, Gulgee’s true passion was art from a very early age — a passion which continued to grow stronger and stronger as he worked with laws and postulates, with science and mathematics.

His first exhibition took place in 1950, a time when art schools and galleries scarcely existed in Pakistan. This concerned Gulgee; he contributed some beautiful works for fund raising purposes, consequently drawing attention to his skills. Another exhibition followed in 1959 and, in about a decade’s time, Gulgee had laid firm foundations for his rise as an icon; he produced drawings and portraits of members of Royal families, many on requests. All excited attention.

In 1962, he married Zarine ‘Zaro’ Maladwala, in Paris, and the couple had two children, Ameen and Zarmin. His son, Ameen, is also an award-winning artiste; his work, too, shows traces of his father’s exquisite skills. Gulgee continued experimenting with arts and crafts after marriage and, with the arrival of the 70s, found himself leaning towards calligraphy.

Calligraphy — here, as in all other fields of art Gulgee delved into, he found himself a master of masters, his creations par excellence. Truly, his calligraphic works will remain a source of inspiration for generations and generations to come. The masterful strokes, the perfect curves, and the brilliance of each tint that gives way to another, though always retaining its distinct identity: there can never be any doubt that Gulgee excelled in what he loved, and loved what he excelled in.

Gulgee’s work was, is, and will always remain an epitome of all the elements that accumulate to form genuine masterpieces. The way he handled his materials, the devotion and skill he put into his creations suggested more than expertise — they were a show of passion unbound, and this, his passion, was what lent his works their touch of completion. In each piece of art he brought forth, there was a sense of wholeness, a feel of timelessness.

In losing Gulgee, we have lost a piece of the soul of true art, and his demise has left a void in our world that can never be filled. Gulgee’s place in the globe of arts was distinct, different, and beautifully immeasurable. In tints, in sketches, in mediums undefined — Gulgee spun the past into the present, and the present into the future. He worked with the essence of life, and with the core of free dreams. He worked with beauty, and with joy and light. No one can ever replace him.