An effort to promote traditional technique of miniature painting

An art exhibition titled ‘Miniatures of Karachiites’ opened earlier this month at Port Grand’s Art Lane gallery. Produced with the supervision of Karachi-based artist and art educator Raheela Abro, the show will run until December 20. Thirty-three traditional and contemporary miniature paintings have been included in the show.

Raheela has taught at the Indus Valley School of Art & Architecture and the Karachi School of Art, and now she is teaching in the fine arts programme at the University of Karachi’s Department of Visual Studies.

She picked those artists for the exhibition whom she has trained in miniature painting at these three institutes. Being her students, all the artists made the miniature paintings being exhibited in the art show under her supervision during their academic lives at their respective institutes.

The participating artists are Alishba Hasnain, Aliza Naqvi, Andrea Anthony, Ayesha Saqlain, Benita Collin, Fatima Khalid, Hina Tabassum, Khawla Siddiqui, Kiran Nawaz, Maheen Nadeem, Maria Tayyab, Maria Yousuf, Muskan Khan, Nimra Khaliq, Noor Fatima, Rabab Alqamari, Rukhsar Mateen, Sheeza Ali, Shiza Mirza and Summaiya Ansari.

Raheela told me that many institutes in the city have slashed their miniature painting course over the past couple of years, preferring to add it as a component to other courses rather than offering it as an independent course.

She put the exhibition together to encourage students, and promote the traditional technique of miniature painting so that everyone can take it forward. She wishes such exhibitions would continue to be held.

She believes miniature painting can be promoted by encouraging students to continue their practice, since most of them discontinue their practice because it takes time and patience to keep at it. Bringing their skills before an audience by exhibiting their miniature paintings can encourage them, she stressed.

Raheela has exhibited her works in local and international art galleries, including four solo and over 50 group shows at galleries in Karachi, Lahore and Islamabad, as well as Iran, Dubai and London. Her works are part of prominent art collections across the world.

She is currently enrolled in a PhD programme and has completed her MA in art education at Lahore’s Beaconhouse National University. She received her bachelor’s degree in fine arts, majoring in miniature painting, from the Karachi University. Along with her art practice, she also maintains a teaching practice.

The artworks

According to the catalogue released by the gallery for the exhibition, Alishba Hasnain’s ‘The Adorned Companion’ has been inspired by the artist’s deep bond with parrots, and her love for jhumkas (a style of earrings).

Aliza Naqvi’s ‘Burden of Thoughts’ depicts figures bound by the weight of their own minds. It is a powerful reflection of the emotional struggle happening within.

Ayesha Saqlain’s ‘The Comfort of Things’ represents the objects that bring the artist comfort in unfamiliar spaces: her sketchbook that she carries with her on all her travels, and the glass jar full of seashells she collected with her family at the beach.

Benita Collin’s ‘Harmonies of Passion’ represents the artist’s personality, showcasing her love for art, music and her hair. The vibrant red pony symbolises her passion for these things, and the piano keys highlight her specific interest in keyboard playing.

Fatima Khalid says about ‘Call Me’ that in today’s digital age, visual technologies like social media and advertising shape human behaviour and identity, influencing perceptions of beauty, success and societal norms.

She says surveillance fosters self-awareness, while cultural exchange through these mediums creates hybrid identities. “My work examines how visual technologies mediate the evolving relationship between culture, environment and identity.”

Hina Tabassum’s ‘A Lone’ and ‘Play With Me’ explore the psychological transformation that takes place due to external factors over time. She says she uses the technique of rusting metal as a metaphor to draw attention to the corrosive effects violence can have on children.

Khawla Siddiqui’s ‘Guarded Bliss’ explores self-identity and personal boundaries through the symbolic arrangement of cushions, and a mood octopus plushie with the happy side visible, expressing contentment within a safe and defined space.

“The red boundary encircling the scene represents the protective limits I’ve set for myself, embodying both strength and the emotional warmth of self-acceptance,” she says.

Kiran Nawaz’s ‘Assembled Moments’ intertwines the structure of a Rubik’s Cube with hand-painted imagery, presenting a fusion of logic and creativity. “It symbolises the complexity of human experiences and the puzzle of self-discovery.”

Maheen Nadeem’s ‘Dance of Delights’ brings together the elements of the artist’s passions: reading, self-care and indulgence. “The stack of books symbolises my love for stories, while the nail polish and red velvet cupcake reflect my personal joys and attention to detail.”

She says that soft pastel hues and vibrant accents evoke a whimsical, fairy-tale-like atmosphere, harmonising the beauty of these small yet meaningful moments in life.

Maria Tayyab’s ‘Keepsakes’ captures the artist’s grandmother’s purse and earrings — objects that are both deeply personal and a daily reminder of her roots. “They embody the grace and traditions she passed on, grounding me in her legacy as I carry them with me through life.”

Muskan Khan’s ‘Alohomora!’ has been inspired by the spell of unlocking; it is a visual exploration of the artist’s childhood dream of receiving an acceptance letter from the Hogwarts School of Witchcraft and Wizardry.

Her ‘Fur & Fin’ is a personal reflection on her childhood, inspired by her mother’s belief that her betta fish would protect her. “The artwork depicts me as a vulnerable bunny, who’s my childhood companion, surrounded by the vibrant flowing fins of my fish, symbolising their protective presence. And the dumbbell being the sign of grooming eventually.”

Nimra Khaliq’s ‘Tiny Treasures’ is closely connected to the artist’s memories and hobbies. She has a deep love for cats and a passion for collecting shells, and this piece brings both of these interests together.

Noor Fatima’s ‘A Piece of Me’ is a personal reflection of the artist’s journey and identity. “The swamp deer symbolises my nature and childhood nickname, while the doughnut and its vibrant toppings capture my love for baking and jewellery-making, weaving together the essence of who I am.”

Rabab Alqamari’s ‘Pause’ shows the broken clock hands symbolising a desire to hold onto precious moments and appreciate the present. “The sunset represents the end of the day, a time I wish to prolong.”

Rukhsar Mateen’s ‘Maah-e-Rukh’ evokes memories of childhood when the moon was an integral part of our lives. “This piece is dedicated to every individual who has ever considered the moon a cherished companion.”

Her ‘Sang Reza’ explores the tension between personal identity and the societal constructs of values. “The faceless figure and gemstone symbolise the balance between inner essence and external expectations.”

Sheeza Ali’s ‘Flavour of Time’ captures the artist’s love for the Chili Mili gummy candy, and her unwavering punctuality, blending joy with discipline. “The vibrant Chili characters embody my playful personality, while the clock signifies my respect for time. This piece reflects a harmonious balance of passion and routine in my everyday life.”

Summaiya Ansari’s ‘Dream Slide’, which shows a skier gliding down an ice-cream cone, depicts the artist’s dream of moving over a land of frosted delights.