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Arab News
15-06-2025
- General
- Arab News
In ancient Taxila, artisan preserves dying craft: molding beauty from plaster of Paris
TAXILA, Pakistan: The scent of turpentine and chalky plaster filled the modest workshop in Dheri Shah, a neighborhood tucked away in the ancient city of Taxila, where millennia-old ruins still murmur stories of Gandharan emperors and Buddhist monks. Amid shelves lined with delicate vases and ornate pots, 65-year-old Ishfaq Ahmed Siddiqui dipped a fine brush into dark blue paint and carefully trailed it along a pristine white surface. The floral motif bloomed under his hand, petal by petal, on an object molded not from clay or stone, but from plaster of Paris. Siddiqui is a solitary figure in a fading tradition. For over three decades, he has shaped everyday materials into works of art, channeling the ancient spirit of Taxila, a city once renowned across Asia for its intellectual brilliance, artistic mastery, and Buddhist heritage. 'I am the first person to design on plaster of Paris with paint, who painted on plaster of Paris in Taxila,' Siddiqui told Arab News, his voice weathered with time and hard work. Once known as Takshashila, the 'City of Cut Stone' in Sanskrit, Taxila flourished from the 5th century BCE to the 6th century CE as a Buddhist cultural and educational hub. Its stone-carved stupas and statues still attract archaeologists and pilgrims from around the world. But where generations of craftsmen once chipped away at granite and schist, Siddiqui reached for plaster. It wasn't always this way. Traditional clay was the medium of choice for local potters in Taxila, but as climate change altered soil availability and water levels, craftsmen were forced to import clay from distant regions, driving up costs. 'I used to face a lot of difficulties in buying and working with clay,' Siddiqui explained. 'Now it's not available easily because of climate change and other factors, so plaster was easily available and cost-effective, and we could mold it into different forms and shapes easily.' When he began experimenting with plaster of Paris, a material more accessible and easier to mold, Siddiqui was met with skepticism. 'A shopkeeper wondered who would buy them. I told him, 'Keep them, display them in the morning and put them back inside in the evening. When they get sold, give me the money'.' The next day, the pieces were gone: 'With the grace of Allah, they sold the very next day.' THE CRAFT OF STILLNESS Inside Siddiqui's workshop earlier this month, time appeared to slow. He began with a simple white powder, plaster of Paris, mixed with water to form a creamy paste. From there, the material was poured into molds and left to set. Once hardened, each piece was smoothed, painted, and often gilded, transforming from a lifeless lump into a vessel of elegance. 'It started simply,' Siddiqui says, his fingers still chalky from his morning's work. 'I was fascinated by the way plaster could be molded, how it could capture the essence of something as fleeting as a flower.' Siddiqui's floral motifs — delicate jasmine vines, rose buds, tulip swirls — draw inspiration from nature and history alike. With customized tools, many of which he has crafted himself, he engraves and embellishes each piece, hand-painting them in vibrant hues or subtly gilding them for emphasis. These pieces, whether wall décor or architectural embellishments, radiate a timeless elegance that harks back to Taxila's artistic golden age. 'There's a tranquility in it,' Siddiqui said, gesturing to a half-finished panel adorned with curling vines. 'You lose yourself in the detail, in bringing something beautiful into existence.' His items, which sell for anywhere between Rs700 and Rs2,000 ($2.45–$7), might not fetch gallery prices, but they carry the weight of heritage. Renowned cultural expert and folklorist Uxi Mufti, based in Islamabad, said Siddiqui's work carried particular historical weight. 'The use of floral motifs in plasterwork has deep roots in South Asian and Islamic art,' Mufti said. 'From the ancient Gandharan stupas in Taxila itself, which often featured intricate stucco decorations, to the Mughal architecture adorned with exquisite floral carvings, this tradition speaks to a long history of appreciating natural beauty in artistic expression.' In the context of plasterwork, Mufti said, the flower motifs 'beautify a space but also connect it to a rich tapestry of artistic and philosophical traditions. Siddiqui is not just creating decorative items, he is preserving and continuing a living cultural legacy.' Many artisans historically used stucco, a fine plaster made of lime, to create decorative reliefs on stone structures. 'It's very difficult to carve granite, so artisans turned to stucco. But now, from stucco it has degenerated or rather it has come down to an easier, much easier medium which is plaster of Paris,' Mufti said. But the tradition is teetering on the edge of extinction. 'Over the past 70 years, many of our master artisans have grown old. Some have passed on, and those who are still practicing don't want their children to learn the art because they can't make enough money. So many of our great art traditions are vanishing.' Indeed, in a world that prizes speed and scale, handcrafted work like Siddiqui's is struggling to survive. Machines produce faster, cheaper, and more uniformly. What is lost, however, is the soul of the work, the intimate connection between creator and creation. 'In an age of rapid industrialization and mass production, the skilled hands of craftsmen like Siddiqui are invaluable,' Mufti said. 'They maintain a direct link to historical techniques and aesthetic sensibilities that might otherwise be lost. Their work serves as a tangible connection to our heritage and keeps traditional arts vibrant.' Siddiqui too admitted his was a drying craft. Orders had dwindled, and younger artisans were reluctant to enter a craft that promised more passion than profit. But for him, the work was still its own reward. 'I only used to paint. There are no hand painters anymore,' Siddiqui said. 'I feel sad that the real culture of Taxila is no more. Everything has changed.'
New York Times
13-06-2025
- General
- New York Times
Stolen From Buddhist Monks, Sacred Painting Is Returned by Chicago Museum
An order of Buddhist monks in South Korea were shocked in the summer of 1989 when their temple was ransacked during a violent thunderstorm. Thieves had posed as hikers to enter the grounds of the Bomunsa temple in the North Gyeongsang province, and they sped away in a beige van with four sacred paintings. For years, guilt and anguish haunted the temple's abbot, Ham Tae-wan. Two of the stolen paintings were eventually recovered in 2014 after an extensive search in South Korea, and the thieves were prosecuted. But the trail of the last two paintings ran cold. More years passed, and the abbot became despondent. 'I have blamed myself for failing to safeguard these Buddhist paintings that are objects of faith in Korea,' he wrote in a letter. 'Not just art.' Then, in 2023, Korean government officials discovered something surprising: One of the missing paintings appeared in the online collections database for the Smart Museum of Art at the University of Chicago, listed under the wrong title. Officials alerted the monks. In August of that year, the museum received a letter from Jinwoo, president of the Jogye Order, Korea's largest sect of Buddhism. 'I hope that the museum will work with us amicably on this matter so this sacred Buddhist painting can be returned,' the president said. It is never a positive story when a stolen religious object from Asia is discovered in a Western museum. But the tale of the painting's return is an example of how Western cultural institutions can sometimes use the repatriation process to mend relationships with cultural and religious groups in other parts of the world. Want all of The Times? Subscribe.
The Guardian
18-05-2025
- Entertainment
- The Guardian
Ancient India review – snakes, shrines and sexual desire power a passionate show
About 2,000 years ago, Indian art went through a stunning transformation led, initially, by Buddhists. From being enigmatically abstract it became incredibly accomplished at portraying the human body – and soul. You can see this happen in the bustling yet harmonious crowd of pilgrims and gift-givers you meet about a third of the way through this ethereal and sensual show. Two horses bearing courtiers or merchants are portrayed in perfect perspective, their rounded chests billowing, their bodies receding. Around them a crowd of travelling companions, on horseback and foot, are depicted with the same depth. Their bodies and faces are full of life, in a frenetic pageant, a bustling carnival, yet this human hubbub is composed with order and calm. It's a Buddhist masterpiece, which helps explain the inner harmony: one of a group of stunning reliefs in this show from the Great Stupa of Amaravati, excavated in the early 1800s by the East India Company and now owned by the British Museum. A stupa is a domed structure holding Buddhist or Jain relics, perhaps modelled on prehistoric mounds, but this one was embellished in the first century AD with sublime pictorial art. Buddha himself stands further along the slender stone block, taller and more still than everyone else. The exact dates of Siddhartha Gautama, the teacher and seeker of enlightenment who became the Buddha, are unknown but by the time this work was created the movement he started was about 500 years old and spearheading one of the most influential renaissances in the story of world art. This exhibition gets to that artistic truth in an unlikely way. It doesn't bother with the minutiae of stylistic change or dynastic history. Instead, it tells a passionate story about the three great religions of ancient India – Hinduism, Jainism and Buddhism – and their vitality across time. You meet practitioners of these faiths in Britain today, sharing their devotion on film. This is a wonderfully direct way to blast the museum dust off such ancient art – and when that dust clears, you get a much better sense of its living power. Hindu and Jain beliefs are older than Buddhism (far older, in the case of Hinduism) but it was after the Buddhist breakthrough in storytelling art that they too became brilliantly figurative. Is it crude to see this as competition? It was at the very least a dialogue. At first I mistook a display of beautiful Jain statues for Bodhisattvas, Buddhist saints. In fact, the slender swaying grace of these figures embodies the ascetic Jain ideal of universal compassion. Yet the biggest, most spectacular artistic transformation was achieved by Hinduism. You can't get a friendlier, more paradoxically human deity than the elephant-headed Ganesha. A statue of him in this show, dating from about AD1100 to AD1200, is a technical miracle in the way the artist fuses an elephant's head with a human body – both precisely observed. But it's the pathos that gets you, the artist's intuition of the wisdom and sensitivity of elephants. Ganesha here is not just divine but lovable. Such moving, homely art is a long way from a black stone lingam, the older, aniconic Hindu representation of Shiva as a male tube being inserted into a female yoni. But sexual desire is a feeling too and the big difference between Christianity and the religions here is Indian sacred art's embrace of the erotic. Statuettes and plaques that date from as early as 300BC depict Yaksis, female nature spirits, with jewellery on their curvy bodies and the same spherical, bulging breasts that you see throughout the show. Female sexual and reproductive power are celebrated simultaneously in the art of all three great religions. Another relief from the Great Stupa of Amaravati portrays The Birth of the Buddha. Its main character is Gautama's mother, Queen Maha Maya. She lies on a bed in a curvy pose, and gives birth in a posture almost as luxuriant. Growing up in a Protestant Christian church, I thought of religion as a taking away, a denial. Here it is an addition – human and elephant, spirit and body, dream and reality. Life infuses these religions: they don't oppose themselves to it. That appetite for reality, as they attempt to make sense of the cosmos, mortality and desire, to find the dharma, must be what made India's religions so exportable. Many of us don't think of Buddhism as specifically Indian because it has spread so far so quickly. One of the most captivating works here is a silk painting of the Buddha set in a dreamworld of deep reds and greens, from a cave near Dunhuang, China, created in the eighth century AD. Nearby in the same final space is a statue of Ganesha from Java, one of the many places Hinduism took root. This is an exhibition with a true sense of mystery. Not just in the atmospheric way it is lit with coloured misty veils separating displays, or even the marvels you encounter such as a nagini snake goddess floating in the shadows – but in the way it worships life. Ancient India: Living Traditions is at the British Museum, London, from 22 May to 19 October
The Guardian
16-05-2025
- Entertainment
- The Guardian
Gods arrive from India, myths grow Tinguely and meat gets sensual – the week in art
Ancient India: Living TraditionsAmbitious blockbuster that shows how Hindu, Jain and Buddhist art assumed their shapes and inspired the world. British Museum, London, 22 Mayto 19 October To Improvise a MountainThe conceptual painter Lynette Yiadom-Boakye selects art that inspires her, from Bas Jan Ader to Walter Sickert. Leeds Art Gallery until 5 October Helen Chadwick: Life PleasuresRetrospective of the brilliant artist who saw the sensuality of meat and made piss-holes in the snow. The Hepworth Wakefield, 17 May to 27 October Heiress: Sargent's American PortraitsSmall but loving show of Sargent's supremely stylish and characterful paintings. Kenwood House, London, until 5 October Niki de Saint Phalle and Jean Tinguely: Myths and MachinesThese wildly inventive artists also happened to be married to each other. It must have been fun at their house. Hauser and Wirth Somerset, Bruton, 17 May to 1 February Helen Chadwick's prolific if tragically short career is getting its first big showing in more than two decades. It includes a vast chocolate fountain filled with 800kg of molten Tony's Chocolonely and her Piss Flowers, white bronze sculptures cast from the holes she and her husband made by peeing in thick snow. Laura Smith, curator of the retrospective at the Hepworth Wakefield, says: 'She was trying to disrupt societal conventions, including gender normativity … She was really pioneering and wasn't afraid of art being sexy or funny, either.' New museum Fenix Rotterdam shows the realities of migration alongside esoteric art Treasures of sacred art from India are very much a live tradition Lee Miller's unseen war shots are on show at Photo London Anna Perach makes extreme, wearable carpets How Linda Rosenkrantz recorded the NY art crowd's secrets in the 60s Pioneering American video artist Dara Birnbaum has died aged 78 Street artist Nicolas Party has unveiled a huge mural at Bath's Holburne Museum Sign up to Art Weekly Your weekly art world round-up, sketching out all the biggest stories, scandals and exhibitions after newsletter promotion Australia is sending its first all-Indigenous team to the Venice architecture biennale Koyo Kouoh, set to have been the Venice Biennale's first African cuator, died aged 57 Portrait of a Young Man by Vincenzo Catena, about 1510 You can tell we're in Venice. It's something about that open blue sky speckled with light puffy clouds – like the equally airy skies in other Venetian paintings by Giovanni Bellini and Titian. Catena, a less famous Venetian painter than them, was probably Bellini's pupil. In fact, in this portrait he sticks with his teacher's style at a time when it was getting old. Why change it if it works? Whoever posed for this frank, bold full face painting was probably delighted to be recorded with such bright-eyed precision, in a world when only an oil painting, drawing or sculpted bust could preserve a face. Catena does a faithful, useful job of holding up a mirror to this man. National Gallery, London If you don't already receive our regular roundup of art and design news via email, please sign up here. If you have any questions or comments about any of our newsletters please email newsletters@
