If the History Would be Folded, Where Would You Put the Crease? from Fatima Zahra Hassan’s World’s End Series II stopped me in my tracks. The phrase, written in red as a reversed mirror image, was not easy to decipher at first. What initially caught my attention, however, was the embroidered depiction of Archangel Rafael, or Hazrat Israfeel, blowing a trumpet on a paper pattern for a scarf — perhaps the simplest garment to stitch. This image of Israfeel, poised to announce the end of the world, contrasted sharply with the serene silence of the gallery.

The soor’s legendary ear-splitting Nafkha-tul-Fana, signalling the Day of Judgement, seemed a world away as I viewed the artworks in peace before the show’s opening day. The exhibition ‘Imaginary Shores’ at Chawkandi Art gallery, curated by Nusrat Khawaja, features the works of two London-based miniature artists, Fatima Zahra Hassan and Ayesha Amjad.

Miniature art in Pakistan has a long and illustrious history, tracing its lineage through the courts of Turkey, Mesopotamia, Persia and the subcontinent. Miniature painting has served as a medium for everything from medical discourses and travelogues to personal and political commentaries. While the term ‘miniature’ refers not to the size of the work but to the meticulous detail and two-dimensional drawing style, what sets one artist apart from another is their unique approach to the craft.

In Hassan’s work, it is her innovative use of pattern or dressmaking paper, which is often also marked with dots and markings to aid in pattern-making — that adds a contemporary layer to the traditional miniature aesthetic.

Two artists recently showcased their symbolically rich and narratively dense works of miniature art

As the curator aptly described, “Both artists are practitioners of Persian miniature painting. Their work is imbued with meaning through a repertoire of traditional and personal symbols. Hassan infuses her art with a subtle modern sensibility that retains continuity with the past.”

Hassan, the Founding Director of the School of Miniature Painting in London and a highly accomplished academic, has a distinguished career as an educator and visual artist. Since 1995, she has served as a visiting tutor at The Prince’s School of Traditional Arts in London and has maintained ties with Pakistan’s National College of Arts, Lahore, where she trained

under the legendary Ustad Bashir Ahmad. Her work weaves narratives rich in symbolism and metaphor, drawing on the cultural and spiritual ethos of South Asia. Much like the dressmaking paper she uses, her work invites viewers to peel back layers and uncover its mysteries.

Amjad, who completed her master’s in traditional arts in 2021 from The Prince’s School of Traditional Arts, explores the concept of journeys in her vibrant, map-like artworks. Her intricate landscapes, inspired by medieval Islamic maps, are brimming with decorative elements and painted in an illustrative style. Trees, mountains, rivers, lions, birds, and crocodiles populate her wasli, yet human figures are conspicuously absent. The celestial skies and waters evoke the voyages of the (absent) Arab seafarers, who navigated by the stars, lending her work a sense of timeless exploration.

Amjad draws inspiration from the Shiraz and Tabriz schools of miniature painting during the Timurid period. She is particularly captivated by the mineral-rich palette of Shiraz — cool blues and greens of lapis lazuli and malachite — while the fusion of Mughal, Central Asian, and Chinese influences in the Tabriz school informs the richness of her visual vocabulary. Her works, based on antique maps, combine organic forms, intricate imagery and text to create a unique visual experience.

Amjad’s artworks possess a subliminal quality that distinguishes them from contemporary miniature artists who often derive inspiration from epic works like Ferdowsi’s Shahnameh. Instead, her pieces evoke the mystique of ancient maps, inviting viewers to embark on journeys through imagined terrains.

Together, Hassan and Amjad’s works in ‘Imaginary Shores’ demonstrate the evolving language of miniature painting. Hassan’s narrative-driven, symbol-rich pieces merge tradition with a subtle modernity, while Amjad’s map-inspired works evoke the timeless allure of exploration. Both artists, while steeped in tradition, push the boundaries of miniature art, proving that this centuries-old medium remains as relevant and dynamic as ever.

The exhibition is not just a celebration of artistic mastery but a testament to the enduring power of cultural storytelling in bridging the past with the present. It compels viewers to reflect on their own journeys — whether through history, imagination, or the self.

‘Imaginary Shores’ was on display at Chawkandi Art Gallery in Karachi from December 16-24, 2024 Rumana Husain is a writer, artist and educator. She is the author of two coffee-table books on Karachi, and has authored and illustrated 75 children’s books

Published in Dawn, EOS, January 5th, 2025