The ustad-shagird relationship in its simplest, most basic connotation, is the one that implies the passing on of knowledge from a teacher to a student. In the context of art, the ustad may become a highly venerated individual, someone who is looked upon as a consummate master of the skills he imparts, whose presence both nurtures and dominates his shagird.

Looking back at the history of art in the subcontinent, we would come across many artists whose name was prefixed by this title, such as Ustad Mansur (1590-1624), Ustad Allah Buksh (1895-1978), Ustad Haji Muhammad Sharif (1889-1978) and Ustad Shiekh Shujaullah (1912-80), and more recently Ustad Bashir Ahmed. No doubt all of these artists represent the Mughal era’s traditional art, mostly miniature painting, and the word Ustad in itself is of Persian origin, which was an honorific title conferred upon a master teacher.

Nonetheless, it would be unfair to limit the concept of a revered student/teacher relationship to any one genre of art. In fact, its essence and value can be gauged from the influence a particular art teacher has on his or her students. One has for example, witnessed such a relationship being eulogised by the students of renowned landscape artist Khalid Iqbal.


The ustad-shagird paradigm has changed in the contemporary world as individuality becomes more important and now students are seldom entirely dependent on their teachers


Professor Iqbal passed away recently and this brought forth many of his students, now themselves senior artists, to express their sentiments in this regard. Amongst others, veteran water colour artist Ajaz Anwar, visibly distraught at his teacher’s passing away, referred to his own status as “a most humble and devoted student of Khalid Iqbal”. One thinks that it is this sentiment which best describes the quintessential relationship between them, where in the latter’s knowledge, skill and personality evokes both humility and devotion.

Here, of course, we are talking about the ideal ustad, the one who is not oppressive or exploitative of his superior status, for this could well be the flip side of this relationship. The true ustad is at best, a benevolent figure, who extends his care upon those under his tutelage. As artist Zahra David recalls, “Iqbal Sahib was always there for me, helping and caring for me and my children whenever the need arose, a father figure who can never be forgotten.”

One may add that while the word ustad may be gender specific, referring to a male teacher, in reality there are many female teachers who are similarly revered by their students, such as the late Anna Molka and Zubaida Javed and many others in present times.

In the past and particularly in the context of miniature painting, indigenous crafts and decorative arts, the students were expected to follow instructions dutifully and emulate techniques, style and content presented by the teacher. Even today it is these genres of art that imbibe the concept of copying so that tradition can be preserved. However, this is more so for craft arts and calligraphy, rather than ‘fine’ arts, where originality is now considered more important.

Miniature art has also evolved into myriad directions, though more in terms of content, and there are still many who adhere to earlier styles. Again one may refer to miniature artist Ustad Bashir Ahmed who is known as a “committed traditionalist”.

As pointed out by Virginia Whiles, historian, curator and teacher at London’s Chelsea School of Art and Design, “Bashir Ahmed is genuinely respected for his teaching of the technique. In his view it is the key factor rooting the practice to a traditional method based on Persian origins. At the same time, it is the very obsession with maintaining the myth of the ustad that limits his tolerance of experimentation.”

Does this mean that the ustad-shagird relationship, in its typical sense, is now more or less restricted to traditional arts and crafts? Strictly speaking, this may appear to be so. Also as pointed out by artist Rashid Rana, with the arrival of art schools, the relationship that was based more on the concept of learning through apprenticeship was replaced by a “professional classroom scenario”. However, he also concedes that “we can still see a few traces of the idea of a teacher playing a greater role in one’s life; a role that does not strictly end when a class or lecture does.”

In today’s world the ustad-shagird paradigm has changed because not only is individuality more important, students are seldom entirely dependent on their teachers for the acquisition of knowledge.
The internet has a significant role to play in this and art teachers also want students to explore and experiment rather than emulate the teacher’s style. Again one may quote Rana, who says that “I would hate it if my students would start producing works that resemble my works.”

It is said that the best teacher is the one who inspires. This sets the ideal benchmark for the ustad of yesteryears, or the ‘sir’, ‘madam’ or ‘professor’ of today and especially in the context of art, which is a domain that thrives not only on mastery of technique but also on inspiration.

Published in Dawn, Sunday Magazine, July 6th, 2014

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