KARACHI, July 22: From a strictly plebeian perspective, Shahida Ahmed’s work appears to be a happy union of the traditional and the modern. The United Kingdom-based artist – whose paintings and ceramics are currently on display at the VM Art Gallery – uses the recurring motif of the whirling dervish, as well as elements of traditional Islamic calligraphy, in her work which is being displayed under the banner of Journey through Zikr.

One has to say that the image of the dervish has been thoroughly commercialised in these superficial times. The whirling mystics of Mowlana Jalaleddin Rumi’s Mevlavi order have not only been turned into a tourist attraction back in their homeland of Turkey, but here in Pakistan they have been used to sell tea as well as accompaniments in all things deemed ‘Sufi.’

But Ms Ahmed’s usage of the dervish image is nothing but tasteful and thoroughly respectful. The dervishes adorn the paintings of the Zikr series – done in gold leaf acrylic and oil on canvas – in their flowing white robes and conical hats, known as kulas. The Mowlana’s disciples are seen twirling towards the infinite surrounded by bright hues of orange, with shades of brown and blue.

One of the standouts of this series depicts the name of the Holy Prophet (PBUH) in a large circle, with the dervishes whirling away around it, surrounded by a helix made up of the divine name – Allah. Other paintings of the Zikr series feature motifs of arabesque designs.

A painting titled Oneness depicts the Islamic Shahada, or declaration of faith, with beautiful arabesques in the background, while the artist has created a number of paintings with the phrase Bismillah, or ‘In the name of Allah,’ which the faithful are urged to recite before any undertaking. A particularly good painting of this series shows the Bismillah painted in maroon on a golden background.

A piece called Oneness in Allah (done in latex, metal, acrylic and gold leaf) features a verse from the holy book urging the believers to practise patience and put their complete faith in the Creator.

Bismillah is Blue (acrylic and gold leaf on canvas) is simply marvellous. Aptly named, it uses different shades of blue and from afar looks as if it is done in lapis lazuli.

The artist’s ceramics are also impressive, which include spheres inscribed with calligraphy and a particularly interesting pilgrim’s flask which, one assumes, is a replica of the kind that were once found in great numbers in the city of Makkah designed to carry the holy water of Zamzam.

A painting of the Morocco series contains a giant arabesque pattern with a motif of leaves inside, while the celebrated Zikr series makes a return with a second sequence. While earlier there were several dervishes spinning towards ecstasy, in Series II a lone dervish whirls with the skyline of a Muslim city – complete with a mosque minaret – prominent in a background.

If this writer’s interpretation is correct, perhaps while the earlier dervishes were contemplating the divine in a purely spiritual, detached state, in Series II the lone seeker seems to be pining for the beloved in the jungle of modernity.

Journey through Zikr will run till July 31.—QAM