Daily Times

Mian Baqir Naqaash, the descendent and heir of the Mian family, has preserved and continued the art of Naqaashi that has been the profession of his family for more than 200 years now.

He lives in Mohallah Kalin Batta in the walled city of Multan. Although the Mian family trace their origins to Iran but the family artists have gained fame and notability for naqaashi and other crafts like book binding and calligraphy only in Multan. Mian Ghulam Mustafa, the great great grandfather of Mian Baqir Naqaash, has left behind many sketches that show the mastery he had gained over the art of naqaashi. His drawings and sketches more than century old are still being used by the family as reference because of the subtlety and creativity of his work. Mian Baqir’s great granduncle Ustad Yasin is well known for calligraphy and fresco painting. He is reputed for the work the he had done on the frescoes at Mohabat Khan Mosque in Peshawar and Shrine of Hazrat Shah Suleman in Taunsa Sharif.

Mian Yasin’s brother Mian Ghulam Murtaza is to this date respected for his excellent artistic capabilities. He was an expert in book binding and illumination and used to prepare a number of books on order. Some of the book covers made by him are still in family’s possession. These book covers were given exquisite appearance by the delicate designs made by hand. Though over years beautiful designs of flowers and foliage painted on these book covers with glittering colours have faded away and have assumed a dull appearance, but still are evocative of the brilliance, creativity and the hard work of the artist.

Some members were extensively skilled in Gul Kari or flower-rendering. Mian Allah Wasaya and Mian Abdullah Naqaash composed a collection of stupendous flower patterns. Each traditional flower was given a vernacular name for example Gul-e-Daudi, Anarkali, Khat-e-Turgah, etc

Some members were extensively skilled in Gul Kari or flower-rendering. Mian Allah Wasaya and Mian Abdullah Naqaash composed a collection of stupendous flower patterns. Each traditional flower was given a vernacular name for example Gul-e-Daudi, Anarkali, Khat-e-Turgah, etc. Mian Abdullah Naqaash was an expert in drawing Gul-e-Daudi patterns and used to go to the garden to observe flowers, vines and foliage. Some of these patterns have been painted on old buildings and seem to be the work of the Mian Family.

“Traditions are kept alive by those who do not just consider it as their duty to continue the practices of their ancestors, but take pride and find their dignity in the furtherance of these traditions.”

Traditions are kept alive by those who do not just consider it as their duty to continue the practices of their ancestors, but take pride and find their dignity in the furtherance of these traditions. Mian Baqir now carries on the centuries old family tradition of wall painting. Over the years, Mian Baqir, after working under the tutelage of some of the most famous naqaash of Multan, has become a seasoned artist quite well versed in the art of naqaashi and wall painting. Another tradition that has been kept alive by Mian Baqir to this date is that of Baeet or ‘Allegiance’ to a Sufi saint. Mian Baqir has given his allegiance to Babu Sarkar of Golra Sharif.

The belief behind Baeet or ‘allegiance’ is that the essence of art, which is creativity, cannot simply be acquired through practice but is gifted by the Almighty and therefore for an artist his art is an act of prayer meant to extol the Almighty. Mian Baqir has worked at the Holy Redemption Cathedral in Multan and has given the art of his family a new dimension by using traditional references and developing new techniques.

The writer can be reached at shahameerkhan171@gmail.com