Saturday, 27 September 2014

beautiful pakistan art gallery painting
art gallery and painting

Fine Art Gallery holds painting exhibition ‘Winter Horizon’       The Fine Art Pakistan Gallery (FAP) has organized a beautiful group exhibition titled “Winter Horizon” comprising work by four contemporary artists Mohammad Ali Bhatti, Moazzam Ali, Maqbool Ahmed and Chitra Pritam recently at FAP Gallery. more them.

 painting of birds flying in sunset it seems like a sadness view coloured with beautiful concept of art this landscape painting is available for sale in.....


Beautifl classics indian painting's


Asian Village

Light in the last week of September evening was vibrant and magical, bathing these home bound farmers in gold in an Asian Village. After day long activity in the fields, these farmers return home along with their cattle on the dirt roads with setting sun on their back. They fetch the fodder with them for their cattle for the coming night and start their way back to fields early in the next morning.
This picture is colour painting

Monday, 22 September 2014

Gilgit Baltistan art paintings academ

                                                   Gilgit Baltistan art paintings academy
 Gilgit Baltistan most famous atists name's Afzal art, Shakeel art, Nisar art, Yasir nisar and nobal art
water colour paintings

water colour painting
shakeel art
shigar fort


S. Iqbal: The Only Poster Artist Left of Lollywood
Pakistan seems to be yet too backward when it comes to talking about painters, sculptures, and artists. There are not many that were blessed enough to engrave their names in the minds of people, excluding Gulgee, Shazia Sikander, Ahmed Pervez, Amin Gulgee, Sadequin, and a few more, who became eminent by luck and education. Whereas, there are plenty of other unnoticed artists this land has given birth to, but they are neglected because either they are impoverished or ignorant. Among these unfortunates comes the name of Sarfraz Iqbal, who has years of experience in poster paintings but dismally known to a few.
Sarfraz Iqbal is a legend that has been constantly overlooked in our country. The 68 years old painter has been working as a dedicated artist for Lollywood over several years now, yet his colossal work and paintings have gone unnoticed. Only recently his name came up on different media platforms when he painted the main poster for the movie “Zinda Bhaag”. As flawless as it can be, Iqbal painted the poster so well that it is hard to grasp over the fact that such talented man is a part of our film industry.
His father, Sardar Khan, who was also a great painter of his time, passed on his painting germs to his son. Sardar Khan himself had collaborated in many films in Bombay before the Indo-Pak partition, and that was the time when Sarfraz saw his future in painting, so he learned all the magical strokes from his father until he mastered this profession. Sardar Khan did not only inspire his son, but many other youngsters jumped into the profession of painting during those days mainly because of him.
By: Dr. Muhammad Ahsan Farooqi
Little attention seems to have been paid to the form of Iqbal's poetry. This is perhaps due to the fact that Iqbal himself always looked down upon and even went to the extent of denying the very existence of the "colour and smell of poetry" (رنگ و بوئے شاعریin his verse. This attitude is not surprising, for it is entirely in the spirit of the Holy Qur'an wherein too there is the essence of the highest poetry along with the condemnation of the mere poets. This again is the way of all thinker-poets of the world, that is, the way of all those national poets who came at a time when the poetry of their nation had degenerated into mere sweet expression. Wordsworth, for example, leaves the world of "eye and ear" and craves for the joy of elevated thought. But this does not mean that they cease to be sensuous artists, makers of pictures and creators of music or the builders of the divine harmony of voice and verse. In fact it is sensuous particularity, the sine qua non of a poet, which is the basis of their personality and their mental make-up. What they mean by playing down this gift is that they do not want to rest at it, but want to employ it in the service of that highest art in which beauty and truth become one. Like them Iqbal has his full share of the "senses" and his basic effort seems to be to make the fullest use of them, but the images he evokes and the music he makes take us to the realm of thought. The total result is the so-called "intellectual fervence" which is the hall-mark of the verse of Rumi, 'Urfi, Goethe, Browning, and Ghalib. Enough has been done to expound his reformist zeal and his philosophical earnestness and thus to prove him a thinker first and a poet afterwards. But the fact remains that in his poem Hour-oSha'ir (Houri and the Poet) when the houri characterises him as a poet the most important point that she emphasises is:
لذت سرود کی ہو چڑیوں کے چہچہوں میں
چشمے کی شورشوں م یںباجا سا بج رہا ہو

Thursday, 18 September 2014


                                         Introduction to History ''Painting and art''

There is no universally accepted definition of art. Although commonly used to describe something of beauty, or a skill which produces an aesthetic result, there is no clear line in principle between (say) a unique piece of handmade sculpture, and a mass-produced but visually attractive item. We might say that art requires thought - some kind of creative impulse - but this raises more questions: for example, how much thought is required? If someone flings paint at a canvas, hoping by this action to create a work of art, does the result automatically constitute art?Even the notion of 'beauty' raises obvious questions. If I think my kid sister's unmade bed constitutes something 'beautiful', or aesthetically pleasing, does that make it art? If not, does its status change if a million people happen to agree with me, but my kid sister thinks it is just a pile of clothes?
For some of the most important
history painters, see:
Best English Painters.
For more about the different styles,
and values of visual art, see:
Definition of Art.
Old Masters (1300-1830)
Great European painters.
Famous Painters (1830-present)
Greatest painters of modern era.
Best Contemporary Artists
World's top postmodernists.
           shakeeel art

The term "history painting" derives from the Italian word "istoria", meaning narrative, or story. It is typically used to characterize any work with a moral narrative, set against a backdrop of classical mythology, or history (ancient or modern). Christian art, for instance, was a common form of history painting. The human figures depicted are almost always engaged in some form of physical and/or emotional struggle (typically heroic) - a pictorial sermon, if you like, conveying a message of recognizable value to society of the time. The events portrayed need not be historically accurate, and frequently aren't, but they are usually highly symbolic and iconographic.


     Top 10 History Painters

This list of famous "istoria" artists has been compiled by our Editor Neil Collins MA LLB. It represents his personal view of the ten best exponents of history painting. Naturally, like any such compilation it reveals more about the personal tastes of the compiler than the narrative painters being ranked. (See also our articles: Art Evaluation and also How to Appreciate Paintings.) (See also: Famous Paintings Analyzed.)

details from the

Fine Art: Definition & Meaning
The term "fine art" refers to an art form practised mainly for its aesthetic value and its beauty ("artfor art's sake") rather than its functional value. Fine art is rooted in drawing and design-based works such as painting, printmaking, andsculpture. It is often contrasted with "applied art" and "crafts" which are both traditionally seen as utilitarian activities. Other non-design-based activities regarded as fine arts, include photography and architecture, although the latter is best understood as an applied art.
Problems of DefinitionThe area of fine art is constantly being extended to embrace new activities arising because of either new technology, or artistic invention. The former is exemplified by acrylic painting, as well as silkscreen printing and giclee prints; the latter by the invention of mixed-media artworks employing collage, decollage, photomontage, or "found-art". Because of this gradual widening process, it is almost impossible to define or fix a meaning for fine art. (See also: Types of Art.)• DrawingA drawing can be a complete work, or a type of preparatory sketching for a painting or sculpture. A central issue in fine art concerns the relative importance of drawing (line) versus colour.
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Monday, 15 September 2014

Art and Painting

Almost Famous: Painting big screen moments on canvas

Published: November 3, 2013
Poster artist Sarfraz Iqbal talks about his craft and passion. PHOTOS: MALIK SHAFIQ/EXPRESS
LAHORE:  In a small office in Lahore’s film district Royal Park, painter Sarfraz Iqbal is as busy at work as ever. The 68-year-old, who is also known as S Iqbal, has been designing and painting film posters for decades but his name often goes unnoticed. His iconic work includes painting of veterans Waheed Murad and Rangeela, to the more recent ones such as Zinda Bhaag and Ishq Khuda. This legend of an artist deserves more credit and recognition than he is given as he is currently the last of traditional poster artists the city has to offer.
“Back in the day, posters would be made by hand. It’s one of the hardest jobs when it comes to the publicity of a film,” Iqbal reminisces. “Waheed Murad had become very concerned about his age. By the end, as his popularity was shifting away, he became quite conscious of himself. He wanted to look 15 years younger. But Nadeem never had that issue.” Iqbal admits it was his duty to make actors look “as beautiful as possible through these posters”.
Painting film posters was in the genes, it appears. Iqbal’s father Sardar Khan, aka S Khan, was another well-known poster artist who worked in Bombay well before partition. After he migrated to Lahore, he became the pioneer of cinema publicity in Pakistan.

Poster artist Sarfraz Iqbal talks about his craft and passion. PHOTOS: MALIK SHAFIQ/EXPRESS
“He made [painted] posters of all the biggest films in the country — he had sort of a monopoly at the time,” Iqbal says about his father, adding posters back then were the main tool of promotion. S Khan not only inspired his son, but a generation of upcoming painters who worked with leading film-makers later on, as well.
Iqbal admits pursuing this option as a career was always part of the plan for him. By the time he reached the eighth grade, he started to work full-time developing posters for some of the best directors in the country. In 1962, he became the leading artist of Lollywood and by the ‘70s, he was making posters for nearly 50% of all films that were produced.
His first film poster was of a Punjabi film, Khan recalls. “What I did was unlike anything. I would pull out those scenes which had a very important role in the film or a scene that would speak out to the audience,” he explains his reasoning behind painting a specific scene from the movie. Designing hand-made posters, large or medium, is time-consuming and can even take months. Thus, Iqbal spent hours planning, drawing and painting posters on a wooden desk — a special desk he still owns today.
“There was not an hour where I would be free,” the artist confesses. “I would be working late at night but, at that time, there was respect for this craft. And not just for me, there were other artists as well.”
Khan has designed posters for several directors including veterans such as WZ Ahmed and Nazarul Islam but admits that his favourite poster till date — which hangs in a small room in his office — is the one of Mohammad Ali with Shabnam for 1987 Sajjad Gul film Dooriyan.

“This picture was important to me because I had made Mohammad Ali look negative, and Shabnam positive,” he explains. “It was something different from what had been ever done before.” He admits that working with any director for the first time is always difficult as they have something specific in mind, yet Khan was always focused on his craft and creating a piece that would be great.
His prolific career and portfolio only recently caught the attention of film fanatics who are now trying to preserve his work. Director of Zinda Bhaag Farjad Nabi made a documentary on Khan’s life called The Final Touch, which was screened at the Kara Film Festival in 2006.
“I never thought of keeping a record. I was doing so much, I just never thought of it,” he continues. “Now, we are trying to find many of these posters.” Art professor Durriya Qazi of Karachi University has started to collect his paintings in the hope of preserving them and possibly developing a record.
Even today, Javed Sheikh, Syed Noor, Shehzad Gul and Shehzad Rafique and many of the newer lot, all continue to use Iqbal’s art as a staple in any production they are a part of.
Published in The Express Tribune, November 4th, 2013.
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