Abdur Rahman Chughtai

(1897-1975)

Untitled (Lady in Blue)

Footnotes

Provenance
Property from a private collection, Pakistan.
Gifted by the artist to Syed Ahmed Shah Bokhari;
Thence by descent;
Acquired from the above.

Note: The painting has been authenticated by Salima Hashmi.

Chughtai is a renowned 20th-century Pakistani painter celebrated for his enchanting and ethereal watercolours that draw from a rich blend of Mughal art, miniature folklore, Islamic and Art Nouveau styles, and the diverse histories of Punjab and Persia. His works often depict religious scenes, mythological themes, and graceful female figures, brought to life through intricate compositions and delicate silhouettes that showcase his remarkable skill as a draftsman.

Following the establishment of Pakistan in 1947, Chughtai—formerly Indian—emerged as one of the nation's most acclaimed artists. The early 20th century witnessed a surge of nationalist fervour, igniting a revival of India's cultural history and spirituality. Artists inspired by this movement sought to reclaim Indian identity by reviving traditional techniques and moving away from the styles imposed by the foreign colonial rulers. Leading this artistic renaissance was Abanindranath Tagore, whose inspiration from ancient murals and medieval miniatures paved the way for the Bengal School—a movement that flourished from 1905 to 1920, symbolizing Pan-Indian artistic expression.

In 1911, Chughtai joined the Mayo School of Art in Lahore, where Samarendranath Gupta, a disciple of Tagore, served as Vice-Principal. Under this influence, Chughtai's early watercolours reflect the revivalist spirit of the Bengal School, embodying what J. Bautze described as "inaudible poetry made visible" (Interaction of Cultures: Indian and Western Painting, 1780-1910, Virginia, 1998, p. 137). His romantic works explore themes spanning Buddhist narratives, Hindu legends, and Islamic history.

Chughtai articulated his artistic philosophy, stating,"The only aim of art is that life should thrive. My art is living and will continue to throb with life, so that the land that gave me birth may be truly immortal [...] These humble creations are redolent of those good old days, when we were making efforts to live and dream with brethren of this land. I have painted about 200 pictures on Indian motifs. This background of my art should not be lost sight of"(Artist statement, Chughtai's Indian Paintings, New Delhi, 1951, p. 7). This statement underscores his commitment to reviving Indian identity and heritage while reflecting his belief in the transformative power of art to inspire a sense of belonging and connection to the culture of his native land.

This present lot, Lady in Blue, exemplifies Chughtai's artistic philosophy, portraying a profile view of a woman in a style characteristic of the Bengal School and influenced by Indian miniatures. Dressed in dark, understated clothing and adorned with a soft veil, the woman's elegant features and serene expression evoke a timeless, meditative quality. The simplicity of the composition conveys grace and dignity, embodying the ideals of Pan-Indian identity that the Bengal School sought to promote.

Chughtai's mastery is evident in the delicate contouring of the female figure and the richly detailed rendering of her earrings and flowing garment. This piece embodies his unique style known as "Persian-Mughal mannerism" (I.U. Hassan, Painting in Pakistan, Lahore, 1991, p. 37). It not only celebrates his distinctive aesthetic but also reinforces the cultural narratives that shape the identity of his homeland.