Highlighting the dying art of slate engraving
Renowned artist and activist Fauzia Minallah through her book titled ‘Chitarkari & Banyans — The Pursuit of Identity’ highlighted the dying art of slate engraving or ‘Chitarkari’ and also turned attention towards preservation of old banyan trees in the capital city.
Organised by Sungi Development Foundation at Pakistan National Council of Arts (PNCA) the event featuring the book launching and exhibition of paintings and sculptures by Fauzia Minallah effectively helped initiate a process of exploring and promoting esteem for art of ‘Chitarkari’ and old banyan trees, dubbed as symbol of natural beauty of this green city.
In order to appreciate the geometrical interlacement of patterns and the symbolic language underneath, it is not enough to simply look at the pieces head on in the exhibition as they must be ‘read’ by letting the eye follow designs and feel history engraved on the stones.
Chitarkari or slate engraving has been used to decorate tombs for centuries in the Gangar Mountain Region of Khyber-Pakhtunkhwa, where slate is found in abundance. Fauzia who hails from Sirikot, a village near Haripur, started feeling fascination since her childhood with the cemetery engravings.
The pieces put on display showed Fauzia is not just promoting ‘Chitarkari’ but is also doing it herself. Having learnt the traditional techniques, she combined it with her knowledge of design, drawing and composition to produce some unique work.
The symbols threw interesting light on the beliefs, culture, material resources and other salient features of the society. With simple tools like a chisel, hummer and ‘parkar’ (divider) she carved items with precision and exactness.
She borrowed heavily from folk art but her expression is contemporary. Sculptures were carved in outlines only and the weaving rhythmic patterns were incorporated in the composition making it a pleasing blend of the old and the new.
Unlike marble or granite that can be polished to a smooth gleaming sheen, slate is dull, grey, rough and very raw. As such it will generate selective appeal only, but this curious mix of the traditional and the contemporary was bound to fascinate viewers, especially creative art students and collectors of art objects.
Speaking on the occasion Sungi executive director Samina Khan said Fauzia reflects passion in her work that usually focuses on indigenous people and deep-rooted local culture.
“She (Fauzia) effectively brought to light significance of caves and old banyan trees in particular reference with local culture and natural environment,” she said.
Tahira Abdullah, a human rights activist, said Fauzia is not afraid of speaking out for causes she believes in. “She is extremely proud to be a Pakistani and tries to conserve, preserve and promote everything we have in our country,” Tahira said.
Ayesha Siddiqa, a renowned writer, said her book is a story of a world she (Fauzia) is seeing fast disappearing and “we must give a serious thought over issues she raised in her book.”
Dr. Essa Daudpota, an environmentalist, said the book showed her deep passion for art and natural environment and any one can see nature through her eyes.
Haris Khaliq, an intellectual, said Fauzia has brought activism and art together and there is a need to turn attention towards preservation of natural environment and promotion of local art and culture.
Fauzia Minallah said ‘Chitarkari’ is the identity of the people of Gangar hills and in the process of exploring and promoting its respect, this ancient craft has become her identity too.
“I have childhood memories of playing in the cemeteries of my parents’ village Sirikot in the Gangar hills, in Khyber-Pakhtunkhwa. By 1990 it was at the verge of extinction but I helped craftsmen find new market for this craft by designing different furniture items and promoted its respect among the villagers,” she said.
Organised by Sungi Development Foundation at Pakistan National Council of Arts (PNCA) the event featuring the book launching and exhibition of paintings and sculptures by Fauzia Minallah effectively helped initiate a process of exploring and promoting esteem for art of ‘Chitarkari’ and old banyan trees, dubbed as symbol of natural beauty of this green city.
In order to appreciate the geometrical interlacement of patterns and the symbolic language underneath, it is not enough to simply look at the pieces head on in the exhibition as they must be ‘read’ by letting the eye follow designs and feel history engraved on the stones.
Chitarkari or slate engraving has been used to decorate tombs for centuries in the Gangar Mountain Region of Khyber-Pakhtunkhwa, where slate is found in abundance. Fauzia who hails from Sirikot, a village near Haripur, started feeling fascination since her childhood with the cemetery engravings.
The pieces put on display showed Fauzia is not just promoting ‘Chitarkari’ but is also doing it herself. Having learnt the traditional techniques, she combined it with her knowledge of design, drawing and composition to produce some unique work.
The symbols threw interesting light on the beliefs, culture, material resources and other salient features of the society. With simple tools like a chisel, hummer and ‘parkar’ (divider) she carved items with precision and exactness.
She borrowed heavily from folk art but her expression is contemporary. Sculptures were carved in outlines only and the weaving rhythmic patterns were incorporated in the composition making it a pleasing blend of the old and the new.
Unlike marble or granite that can be polished to a smooth gleaming sheen, slate is dull, grey, rough and very raw. As such it will generate selective appeal only, but this curious mix of the traditional and the contemporary was bound to fascinate viewers, especially creative art students and collectors of art objects.
Speaking on the occasion Sungi executive director Samina Khan said Fauzia reflects passion in her work that usually focuses on indigenous people and deep-rooted local culture.
“She (Fauzia) effectively brought to light significance of caves and old banyan trees in particular reference with local culture and natural environment,” she said.
Tahira Abdullah, a human rights activist, said Fauzia is not afraid of speaking out for causes she believes in. “She is extremely proud to be a Pakistani and tries to conserve, preserve and promote everything we have in our country,” Tahira said.
Ayesha Siddiqa, a renowned writer, said her book is a story of a world she (Fauzia) is seeing fast disappearing and “we must give a serious thought over issues she raised in her book.”
Dr. Essa Daudpota, an environmentalist, said the book showed her deep passion for art and natural environment and any one can see nature through her eyes.
Haris Khaliq, an intellectual, said Fauzia has brought activism and art together and there is a need to turn attention towards preservation of natural environment and promotion of local art and culture.
Fauzia Minallah said ‘Chitarkari’ is the identity of the people of Gangar hills and in the process of exploring and promoting its respect, this ancient craft has become her identity too.
“I have childhood memories of playing in the cemeteries of my parents’ village Sirikot in the Gangar hills, in Khyber-Pakhtunkhwa. By 1990 it was at the verge of extinction but I helped craftsmen find new market for this craft by designing different furniture items and promoted its respect among the villagers,” she said.
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