Chawkandi Art gallery recently displayed the newest collection of paintings by artist S. M. Khayyam in a solo presentation titled ‘Certainty’. The paintings all venture into the mystical world of Mughal miniature art.

Each painting acts as a visualisation of the connection one shares with their lineage. This could be an individual heritage based on our unique genetic make-up, or even a collective inheritance of our culture, land, language and so on. It is impossible for us to think that we can be separated from our historic timelines. We may not know all of it in its entirety, but there should still be an acknowledgement of our connection to the past. In a sense, we are all the culmination of our past, present and future.

These are all thoughts that emerge while looking at Khayyam’s work. Among the paintings are familiar portraits from the Mughal era. Figures such as Shah Jehan stand in distorted perspective, much like one would find in original Mughal works. Here, however, Khayyam adds in a reflection to the figure and gives it focus, while covering the actual figure in a haze of grey.

This reiterates the general theme of the overall exhibition; though the person from history may not be present today, their ‘reflection’ or their essence will continue to live on in the present.

S. M. Khayyam’s solo show of Mughal-type miniatures was as much about the artist’s dexterity and skill as it was about concept

Besides the conceptual element of his work, the real attraction and power of Khayyam’s work is the level of dexterity with which each piece is produced. Each painting is executed with near perfection, inviting the viewer to marvel at the sheer beauty of each piece.

Mughal tradition is a strong part of our Subcontinental culture, but many of us are deprived of being able to physically view the ancient manuscripts and texts, as well as the original paintings from that time. This show at Chawkandi, not only displays the work of someone who has contemporised Miniature in his own way, but also managed to keep to the intricate sensibilities of paint application and other aesthetic values of the Mughal tradition.

In a way, viewing this exhibition in person is a rare opportunity for many of us to catch a glimpse of what many of the traditional Mughal paintings looked like, and that is all due to the disciplined skill with which Khayyam constructs each artwork.

Looking at each painting, one can observe the freshness of the artist’s paint as a result of the natural pigments used by him. Understanding that he used substances such as natural pigments and lapis lazuli provides viewers with an imagining of the meticulous process endured during the production of each artwork. There is an appreciation of the manual time and effort, not to mention craftsmanship, behind each miniature work.

Ultimately, Khayyam’s oeuvre is one that can only be truly appreciated in person. Each piece draws the viewer closer, inviting them to be mesmerised at each minute, insignificant detail. In the case of his pieces, there is less concern for the underlying theme and a keener interest in the articulate talent and discipline the artist displays through his work.

There will always continue to be a discourse within the art world about the value of intellectual concept over craftsmanship and skill, and it is work like Khayyam’s that continues to push these important conversations to new and unforeseen heights.

‘Certainty’ was exhibited at Chawkandi Art Gallery in Karachi from March 10-19, 2022

Published in Dawn, EOS, April 10th, 2022