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Making of a Miniature I, II, III

Making of a Miniature I, II, III
signed in Urdu (lower left) each; signed, titled and inscribed 'Tazeen Qayyum; further inscribed 'Based on Begum Nur Jahan Jodhpur, c. 1825-30 By Amar Das' (on the reverse)
gouache and gold leaf on wasli
11 x 9 in. (27.9 x 22.9 cm.) each
Executed in 2005; Three works on wasli
3 (3)
Acquired directly from the artist
Toronto, Art Square Gallery, Gendering Detail, 2005
Mississauga, Art Gallery of Mississauga, Bazgasht: Revival of Miniature Art from the Sub-Continent, 2009
Thunder Bay, Thunder Bay Art Gallery, It's Complicated, 2011
Toronto, Textile Museum of Canada, Vieled: Andrew McPhail, Grace Ndiritu and Tazeen Qayyum, 2011

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Deepanjana Klein
Deepanjana Klein

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Lot Essay

Tazeen Qayyum graduated from the National College of Arts Lahore, Pakistan in 1996. Her work has been widely exhibited in the United States, Canada, Japan, Nepal, London, Pakistan and Iran.

Tazeen's works represent an innovative development in the aesthetic of the neo-miniature. Having studied classical miniature painting techniques, she apprises the tradition in a contemporaneous context. According to artist and critic Quddus Mirza "she blends the two parts in such a manner that a new and independent narrative is created." (Q. Mirza, 'A Different Kind of Animal,' The News, Karachi, 24 September 2006) In The Making of a Miniature I, II, III, Tazeen explicitly refers to an existing classical miniature portrait of Begum Nur Jahan the wife of Mughal Emperor Jahangir, painted by Amar Das, circa 1825-30. This iconic subject, reproduced countless times, is a deliberate visual quote of the tradition of the practice of miniature painting. It represents a visual conundrum as these three works cannot constitute three progressive stages of the same process, but three citations of a singular image. This set of work is a playful sardonic homage to the practice.

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