The deliberate intention to illustrate the miniature paintings in an unrealistic manner was aligned with the aesthetic reasoning of the painters to represent reality in a fictional way. Unlike their Western counterparts, miniature paintings have always deviated from the photographic and pragmatic depiction of our perception in favor of attempting to render the fantastical lives of the subjects in them¹. Honesty has never been the utmost priority of the miniaturists as much storytelling has been, regardless of how bizarre the result is.

The supreme concern regarding miniature paintings contributing to their misinterpretation could be that they are approached as individual pieces, whereas the text that accompanied the manuscripts was equally as important, yet somehow much of it has been lost due to the negligence and the consequent demise of the Mughal Empire². The pages that did actually survive these tribulations were imprisoned in foreign lands inside glass cages for strange eyes and hands to caress them.

For the contemporary artists of the subcontinent divide, to whom this legacy belongs, numerous attempts have been made to repurpose miniature paintings while addressing this loss³. A significant exemplification of this analysis can be seen in the deconstruction of traditional training methods within the artistic practice of Naveed Sadiq in his show, Mashq Awwal⁴, displayed at the O Art Space in Lahore in September, 2024. The exhibition marks its return as a sequel to Mashq Dom⁵ with some reinterpreted artworks on the exploration of miniature art through the lens of his rigorous academic training laying bare the form and interpretation of this ancient technique of the Indo-Persian ateliers.

Historical narratives play a pivotal role in his deconstructive exercise. Engaging with the foundational elements of composition, such as lines, shapes, the grid and geometric markings delineate specific areas within the artwork, while the use of stained paper grounds the piece in its materiality. The process of paper making, alongside the underdrawings, significantly influences the artist’s practice, with dark sketches often serving as preliminary foundations before the application of color. This approach by Sadiq underscores how history is rewritten through various lenses and raises critical questions about the Westernization of academic teachings, specifically in the realm of art.

In this context, he draws our attention to the historical narrative surrounding the Mughal manuscripts; Badshah Nama, Akbar Nama, and Ain e Akbari., particularly in relation to their dismemberment by the British commissioners. The literal and metaphorical tearing of those pages symbolizes the fragmentation of cultural texts and identities whose echoes still haunt us to this age.

Each element of his artworks; the grid structure, the color palette, and the subject matter is meticulously examined, dissected from its original context, and reevaluated through the artist’s personal understanding and experiences. Institutions like the V&A Museum play a crucial role in this dialogue, as they serve as collectors and preservers of miniature art, thus impacting the narratives around history, identity, and cultural memory. The act of deconstruction allows Sadiq to reevaluate these identities, examining how past influences and contemporary interpretations shape them.

The deconstruction process could serve as a means to challenge established standards, inviting a reconsideration of narrative forms. This notion is echoed in Najm Syed’s poem Lik Do Boli⁶, which dialogues with the historical transitions and consequent monetization of painting from caves to courts and eventually markets, illustrating the evolution of artistic expression across different societal contexts. Sadiq’s inquiry into colors, as discussed in Ain-i-Akbari, provides insights that are relevant to practical applications in miniature painting. His color pieces explore the intersection of color theory with traditional artistic practices while relating pigment with celestial and earthly bodies.

Moreover, the portrayal of faces in his paintings often reflects a lack of distinct features, leading viewers to consider the implications of this stylistic choice. The white pigment traditionally used for painting faces is notably susceptible to flaking and deterioration whose factors may stem from insufficient adhesion to the burnished pigments beneath, a deficit of binding medium during application, or an application technique that involves layering thicker paint over thinner.

The images produced within the context of Mughal manuscripts contain a fragile balance between narrated history and its religious and cultural values, which are both subject to deconstruction. Notably, representations of women, empty thrones, and vines in Sadiq’s practice create a tapestry that binds diverse narratives together while reconstructing the complexities of identity and representation of the global south in the Western context.

“Mashq Awwal: The first exercise”, Naveed Sadiq’s solo show, was on display at O Art Space, Lahore from 7th – 17th Sept, 2024.

Title image: Naveed Sadiq, Mashq – Vainika (Vina player), Aak (Calotropis Gigantea) & Sadabahar (Madagascar Periwinkle). Lamp black & sufaida on paper, 10.5 x 14.5 inches, 2023.

All images, courtesy @O Art Space