The interpretation individual artists give to nature and the genre of landscape is always interesting as each artist has a signature touch. Although aware of the reality of hard work that goes into working the land, throughout art history artists have seduced the eye of the viewer with landscapes that depict delightful vistas of nature in changing seasons, colour and moods.

In Pakistan, the lasting influence of Khalid Iqbal and the Punjab Landscape Movement has inspired successive generations of artists to personalise the artistic tradition creating artwork that is markedly different from the past. Though landscapes may reflect the artist’s love of the countryside, there is much more to the genre than just enjoying an idealised scene.

Zulfiqar Ali Zulfi is a recipient of the President’s Pride of Performance Award (2010). He is the director of visual and performing arts at the Alhamra Arts Complex, and a great admirer of his former teacher Khalid Iqbal. Recently viewing a numinous collection of artworks by Zulfi shown at the Ocean Gallery, Karachi, one was aware of the artist’s alignment to the history of the search for spiritual awareness through aesthetic experience. This was Zulfi’s first solo exhibition in Karachi and it was largely attended by a diverse crowd of art enthusiasts.

Art in recent times has become in many instances a reflection of the violence around us, reminding us of our vulnerability in a world beset by the brutality of mankind and the power of nature. There are times one longs for the escapism of aesthetic beauty. In this context, there was much to be seen and enjoyed in Zulfi’s keen eyed and gentle observation of country and urban landscapes. His work is often dream-like but he never fantasised and it carries meaning. The skilfully rendered artworks offer assurance that in spite of the horrors that haunt one’s days, there is still beauty existing if one looks for it.

In Zulfi’s world, delightful images restructure the landscape whether agricultural fields or urban areas. One discovered that trees turned to gold in the light of the setting sun and reflected in the water of a canal. In the distance there is a haze of yellow fields, while men and cattle wend their way home. It is an idyllic image, and reassuring in the certainty that tomorrow the sun will rise and age-old practices will continue.

In a contrasting mood, the artist creates grisaille moods, with luminous shades of grey revealing mornings cloaked with mist. Even the artist’s urban scenes have a countrified look; bicycles and donkey carts rather than heavy vehicles moving along the roads.

Zulfi appears to be the master of skies, creating magnificent patterns of ephemeral clouds reflecting the colours of the setting sun. These paintings demand from the viewer more than just a cursory glance, and while I was absorbing these impressions, Tassaduq Sohail appeared and looking over my shoulder and quietly remarked, “I’ve seen skies like that.” Working in the medium of oil on canvas, Zulfi puts a great deal of energy into the work.

One perceived the presence of the artist in the brushstrokes that created a third dimension in the compositions, and left his world with reluctance.