Nusra latif qureshi biography examples in urdu

One of the most striking qualities about the work of contemporary artist Nusra Latif Qureshi is how she illustrates the absent.

Nusra Latif Qureshi is a leading figure in the contemporary miniature scene, having studied the art at the National College of Arts in.

Her work embraces the traditional, while maintaining a shrewd eye towards historical content and the conceptual. Like her classmates, she began her training by copying illustrated manuscript paintings from the Mughal, Rajput and Persian schools. The focus on technical precision, repetitive exercise and careful observation that this required acted as a stepping-stone towards contemporary global art practice.

The intensity of the genre seems to have given Qureshi in particular a wide view of the evolution of miniature painting, which she would later draw on in her work. It is derived from the Latin word minium or minaire , a red oxide used for drawing and painting. Qureshi left Lahore in to complete her graduate studies at the Victorian College of Arts at the University of Melbourne.

This distance gave her the clarity of vision that comes from such a dramatic change in perspective. It would also give her more freedom to be critical of political and social issues in Pakistan. Her continuing investigations into global histories have included examining colonialism in postcolonial societies and questioning the truth and authority of imagery from the past.

Her compositions include appropriated images from Mughal and Rajput paintings, visual quotations of the British Raj, and photographs by Felice Beato and Lala Deen Dayal, but with an important difference in emphasis. An example of this is seen in Considerate Flying Objects , a painting in gouache and acrylic on wasli paper.

Nusra Latif Qureshi was born in Pakistan in and originally trained in the traditional art of Mughal miniature (musaviri) paintings.

One of the source images is the early 17th century portrait of the Mughal emperor Jahangir r. During a period of political tension between the two nations, Jahangir dreamt that he met Shah Abbas and that the two leaders embraced—but in reality they never met. This is the kind of constructed history that Qureshi turns upon its head. In her composition, the seraphim fly freely about and all inessential ornament has been stripped away.

She gives her female subjects emphasis, colour and pride of place in the composition, while in historical models they were absent or secondary.