Pakistan recently lost one of its star watercolourists Pirzada Najam-ul Hassan, in a tragic accident that could have well been avoided. Life is precious, but the way we see it being lost thanks to sheer negligence and lack of preventative measures in this country, is mind-boggling. One could go on to lament what happened to Najam, but at this point one would rather celebrate his life and work, for this is what he truly deserves.

Born in Lahore in 1951, Najam was a diploma holder of the Karachi School of Arts (1976). If one were to say that the greater part of his life revolved around painting, it would be by no means an exaggeration. Watercolour was his favourite medium and this is what he excelled in. His hallmark paintings were usually rather small in size, but invariably managed to enchant viewers. Landscapes, with the emphasis on the sky and horizon, delicately peppered with finely painted silhouettes of trees, became his signature theme and style early on in his artistic career.

His technique was of the classic variety, wet paint on wet paper, with the translucency and purity of colour maintained through quick deft strokes. Watercolour painting, in its pristine form, is a delicate affair which allows for no mistakes, which is why perhaps Najam opted for small sizes, to maintain the standard of painterly perfection. However with time, he became bolder and more proficient in handling larger spaces and one has witnessed how he was able to paint with perfection, landscapes that were by no means small in size.

The artist also experimented with abstract watercolour painting and came up with some brilliant paintings in this genre as well. One can recall a painting in particular, in which the paper was set alight with crimson and red, delicately shrouded in hues of green, as if a garden full of red poppies had exploded.

It appears that invariably it was nature that inspired him and he was most at home and in his element when depicting the beauty of natural phenomenon. However, his style was by no means painstakingly realistic and he put forth only the essence of what he saw and imbibed. Yet this ‘abstraction’ was invariably a pure and idealistic version of ‘reality’ and this is what made it so refreshing and charming.

The last time one viewed his work was at a two-person show at Lahore’s Nairang gallery, just over a year ago. Najam, together with the Karachi-based water colourist Abdul Hayee, had showcased his latest work, but had also included some earlier paintings as well. Both artists had experimented with abstraction in water colours, in an attempt to explore contemporary sensibilities in art. Somehow, one got the feeling that this experimentation was more for the sake of the viewers rather than the artists own inner ethos.

One even conveyed this to Najam, who was more than happy to receive whatever comments were made on his work. This too, was another endearing quality of the artist, who was ever amiable and humble in his demeanour, and more than willing to appreciate other’s point of view.

Now that Najam is no more present, his work seems to speak out for him even more. As one views his paintings the purity of his style, bordering on something ethereal, tugs at the heart and soul. Rest in peace, Najam … your work continues to shine.

Published in Dawn, Sunday Magazine, June 1st, 2014