Contemporary miniature painting in Pakistan has absorbed social, religious, political and economic themes and a satirical yet empathetic approach more intensely than other genres of visual arts. Beginning in the late ’90s, a new generation of artists adopted these influences so overwhelmingly that a certain level of saturation has been reached.

Saira Waseem graduated in miniature painting from the National College of Arts in 1999. She is now settled in the United States and loves to comment on the various political happenings in her homeland. Her subjects include the historically existing dichotomy among the elites and masses, the religious clergy, politicians and aristocrats.

Her recent exhibition “Select Works 2016” at the Unicorn Gallery in Lahore presented a sarcastic narration of a sensitive individual who has been observing from a distance and expecting the situation to improve. She analyses the situation correctly, but the yardstick by which she expresses her analysis is imported.

Saira Waseem’s miniatures use elements of Western mythology, politics and history to comment on her homeland

‘Europa’ is an interesting frame with a bull-driven cart-like vehicle, mainly derived from the concept of a Centaur, with iconic personalities of Europe such as the Prince of Wales Charles Philip Arthur George —representing contemporary England — aboard. Moreover, this small painting also encompasses giants of Western art who represent a visual chronology after the Renaissance and diversity in ethnicities by presenting Peter Paul Rubens (1577-1640) and Frans Hals (1580-1666) from the Flemish School, Diego Velázquez (1599-1660) of Spain, Charles-André van Loo (1705-65) — also known as Carle van Loo —and William-Adolphe Bouguereau (1825-1905) of France. However, this cart-like vehicle is characterised by European Union flags and euros, indicating its driving force and modern day economic power.

Since the artist is settled abroad and she also has deep concerns about her homeland, she seems to use the global political and economic context to address the same in her own country. Pakistan is not part of the EU and neither are the characters of this painting directly related to South Asia. Even so, the technique and style of miniature painting make this painting relevant to the sub-continent.

Another such painting titled ‘Flying Machine’ displays the UK flag as the backdrop, fluttering over a mythical flying machine. The two greatest political opponents of the late 19th century England — Benjamin Disraeli (1804-1881) of the Conservative Party and William Gladstone (1808-1898) of the Liberal Party — are shown on board. They were poles apart in their strong ideology; while the former was elected as a Conservative premier, the latter held the same office for the Liberals. The artist articulates the two opposing personalities by posing them looking in different directions. However, they are linked to each other by sharing the same flying machine, flying over the skyline of London and under the shade of the Union Jack.

Indirectly, this painting comments on the political intolerance we experience in our country. Pakistani politicians often do not allow others to express their views or exercise their right to speech, under the strong dogmatic and anarchistic approach within the so-called democracy. The artist presents the flying machine and the UK flag as the binding forces, which represent the state, despite the opposing ideologies.

In a series of two frames, ‘Flirting with Faith – I’ and ‘Flirting with Faith – II’, Waseem comments on the socio-political and socio-religious disposition of Pakistan by putting prominent religious clerics in the limelight. In ‘Pieta’ she comments on the misuse of the blasphemy law in Pakistan, keeping in view the same practice in Victorian England. The artist has found this misappropriation linked with the British colonial era where this law was used to protect and promote the illegal authority of the British Raj. On the other hand, ‘The Crucible’ represents Western misconception about Islam, and the related discourse propagated on the print and electronic media.

By and large, the tone of the artist appears as immensely influenced by the art and political movements of the West. Whether she paints ‘Europa’ or the subjects of Pakistan, she likes to imply elements of Western mythology, politics and history along with using symbols representing the same dogmas. The fact that the artist is living abroad compels her to look at the current situation of her homeland from the outside and not as a part of concerned society from within. One also feels the absence of characters and symbols of local South Asian mythology for the social and religious narrative.

The exhibition “Select Works 2016” by Saira Waseem was held at the Unicorn Gallery, Lahore from September 27 to October 11, 2016.

Published in Dawn, Sunday Magazine, November 6th, 2016