Important Notice

Lot 52

 

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Abdur Rahman Chughtai stands as one of Pakistan’s most prominent modern artists of the 20th century. Born in Lahore in 1897, Chughtai came from a family of craftsmen and architects. He enrolled at the Mayo School of Art in 1911, where he studied under Samarendranath Gupta, himself a student of Abanindranath Tagore, the founder of the influential Bengal School of painting. The characteristic wash technique and delicate, finely detailed linework... Abdur Rahman Chughtai stands as one of Pakistan’s most prominent modern artists of the 20th century. Born in Lahore in 1897, Chughtai came from a family of craftsmen and architects. He enrolled at the Mayo School of Art in 1911, where he studied under Samarendranath Gupta, himself a student of Abanindranath Tagore, the founder of the influential Bengal School of painting. The characteristic wash technique and delicate, finely detailed linework typical of the Bengal School had a lasting impact on Chughtai’s work. However, over time he developed a distinctive visual language of his own, which set him apart from his contemporaries.

Chughtai’s art is deeply rooted in the cultural heritage of the Subcontinent. He drew inspiration from Islamic and Hindu traditions, Islamic calligraphy, and Art Nouveau, as well as the writings of renowned Urdu and Persian poets like Mirza Ghalib and Omar Khayyam. The enduring influence of Mughal art and miniature painting is evident both in his subjects and in the meticulous precision with which he approaches detail throughout his work. Women frequently take centre stage in his paintings, appearing as daughters, princesses, courtesans, goddesses, and figures of the royal court, reflecting the diverse roles of women in history and legend. These figures often dominate the composition and are rendered with prominent features and sinuous, flowing lines.

As art critic G Venkatachalam has remarked, “Persian by tradition and Moghul by birth, Chughtai brings to his art the delicacy of line and the fine finish of Indo-Persian art. He expresses himself clearly and spontaneously and all his pictures have an air of radiant simplicity about them. You feel that the artist’s vision comes clothed in line and colour, direct, easy and without much effort on his part at the perfection of form and design. His lines flow tenderly, gracefully and there is an eternal charm in the draperies and ornaments he puts on his female figures. Chughtai has, in an abundant measure, the artist’s delicate spirit of choice and subtle tact of omission. His simple chaste architectural backgrounds, without elaborate ornamentation or decorative effects, throw out the figures in relief and make them vital and living.” (G Venkatachalam, “M. A. Rahman Chughtai”, Contemporary Indian Painters, Bombay: Nalanda Publications, 1949, accessed via Critical Collective, online)

ACQUIRED FROM INDUS GALLERY, KARACHI

The present lot was originally acquired from Indus Gallery between the late 1980s and early 1990s. Established in 1971 by Ali Imam-following his return to Karachi after a period in London post-Partition—the gallery played a pivotal role in the development of Pakistan’s contemporary art scene. Imam, himself an artist and critic, was the younger brother of the prominent Indian modernist and Progressive Artists’ Group member S H Raza. Through Indus Gallery, Ali Imam significantly contributed to the promotion and support of leading Pakistani artists, including Sadequain, Ismail Gulgee, and Abdur Rahman Chughtai. The gallery turned into a hub for Karachi’s art scene and hosted not only several emerging artists, but also poets such as Faiz Ahmed Faiz, as well as visiting Indian artists such as M F Husain and F N Souza.

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