One’s first response to the recent work of Zulfikar Ali Zulfi was elicited by viewing of the beautifully printed catalogue that arrived prior to the opening of his exhibition at Lahore’s Ejaz Gallery. This response was one of going back into time, into the world of ‘old masters’ particularly, the 18th century British artist Constable, famous for his landscapes of the fertile farming lands of England.

Zulfi, being our ‘son of the soil’, as an art critic Aasim Akhtar calls him, has glorified the typical Punjabi landscape, presenting it in all its splendour and reaffirming his allegiance to the conventional mode of image-making. In addition to the landscapes, his depiction of the inner, old city of Lahore also forms a part of his recent artistic endeavour.

In an era when experimentation, innovation and even subversion are more in demand in the international upwardly mobile art circles, and many were even predicting the seemingly imminent ‘death of painting’ syndrome, he has been faithful to the classical genre of realistic painting. Actually, it is a relief that ‘painterly’ painting is still alive and kicking, and that ‘reality’ can still be glorious.

We still need all this alongside the more complex, enigmatic, socio-political image making, and in fact, we need to perfect it further. As luck would have it, when I saw the artist’s work at the gallery, it was in a state of mind that needed something to sooth the senses, and the last thing I wanted to view was something complicated or disturbing. His spectacular landscapes were like a balm to a chaffing soul, and an oasis of serenity in a belligerent world.

It is thus not surprising that despite whatever trends in art emerge, the art of landscape painting continues to be popular and still sought after. In this context, Zulfi is the quintessential successful local artist who has worked for and enjoyed public popularity and official acknowledgement, epitomised by the Pride of Performance award conferred upon him by the government of Pakistan.

This most recent exhibition of paintings is a grand showing of his expertise, especially in the genre of landscape painting, and indeed in the style of the ‘old masters’, not only in terms of technique, but also presentation, for the paintings with their grand and gilded frames (especially designed by the artist), are fit to be hung in a palace.

An increased sensitivity of perception and maturity of technique are visible in his current work. This is particularly true of the landscapes, which come alive by the almost dramatic depiction of atmospheric effects which go beyond mere observation and indicate an inner passion that the artist has developed for the subject matter. Many of the landscapes which depict deep vistas and a low horizon line, with the sky dominated by billowing clouds illuminated by light filtering in and around them, have a remarkably ethereal quality.

His cityscapes have a haunting aura which he attributes to the fact that they were all painted at that time of the day when the light is at its dimmest, very early morning or late evening. The views of the old city are replete with the presence of people moving through the crowded, narrow streets, but an aura of mystery prevails and they appear like apparitions moving in a ghost city. Time appears to have stopped somewhere and the image is like a dream from the past.

For viewers who savour the glorification of nature, and the crystallisation of images that relate to our indigenous environment, Zulfi’s work will continue to be a source of satisfaction.