List of Illustrations
Rent from DeepDyve- List of Illustrations
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Opening word of this new scripture.
Imran Qureshi, 2013.
Gouache and gold leaf on wasli paper.
[End Page ii]
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This leprous brightness.
Imran Qureshi, 2010.
Gouache and gold leaf on wasli paper.
[End Page xvi]
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This leprous brightness.
Imran Qureshi, 2011.
Gouache on wasli paper.
[End Page 18]
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This leprous brightness.
Imran Qureshi, 2011.
Gouache and gold leaf on wasli paper.
[End Page 22]
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All are the colour of my heart.
Imran Qureshi, 2010.
Gouache on wasli paper.
[End Page 25]
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And will there be a spring, when the garden is all unblighted.
Imran Qureshi, 2014.
Gouache and gold leaf on wasli paper.
[End Page 30]
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Threatened.
Imran Qureshi, 2014.
Gouache on wasli paper.
[End Page 40]
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Opening word of this new scripture.
Imran Qureshi, 2013.
Gouache and gold leaf on wasli paper.
[End Page 59]
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How to cut an English pantaloon without belt.
Imran Qureshi, 2002.
Gouache on wasli paper.
[End Page 60]
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The military pantaloon has extra pockets than the civilian one.
Imran Qureshi, 2002.
Gouache on wasli paper.
[End Page 72]
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Easy cutting.
Imran Qureshi, 2005.
Letraset transfer and gouache on wasli paper.
[End Page 78]
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Rise ’n’ fall.
Imran Qureshi, 2014.
Gouache and gold leaf on wasli paper.
[End Page 79]
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Blessings upon the land of my love.
Imran Qureshi, 2011.
Gouache and gold leaf on wasli paper.
[End Page 94]
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Trespass.
Imran Qureshi, 2014.
Gouache and gold leaf on wasli paper.
[End Page 106]
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Portraits.
Imran Qureshi, 2017.
Gouache and gold leaf on wasli paper.
[End Page 122]
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Threatened.
Imran Qureshi, 2010.
Gouache and gold leaf on wasli paper.
[End Page 188]
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He said and then she said.
Imran Qureshi, 2000.
Gouache on tea-stained wasli paper.
[End Page 206]
Imran Qureshi was born in Hyderabad, Pakistan, in 1972. He studied at the National College of Arts in Lahore, where he learned the traditional techniques and aesthetics of the sixteenth- and seventeenth-century miniature painting that flourished in the Mughal courts. Some of his work is therefore a synthesis of traditional motifs and techniques with contemporary abstract painting. The art in Story Is a Vagabond was created on wasli, a paper made by hand in India especially for painting miniatures. Qureshi is also an installation artist who has had exhibitions at the Sydney Biennale, the Sharjah Biennial, and the Metropolitan Museum of Art in New York. His large installations, such as the one on the 8,000-foot terrace of the Met, can appear to be, in the words of New York Times reviewer Ken Johnson, “a crime scene or the site of a ritual slaughter” at first glance. But when looked at closely, as with his miniatures, the spatters of maroon, scarlet, and pale pink resolve into motifs characteristic of Mughal miniatures: intricately rendered leaves, bird feathers, and flowers. What appear to be capillaries or cracks in glass become thin, calligraphic tendrils and delicate foliage. “These forms stem from the effects of violence,” Qureshi explained in a statement accompanying the Met exhibit. “They are mingled with the color of blood, but, at the same time, this is where a dialogue with life, with new beginnings and fresh hope, starts.”
Qureshi lives and works in Lahore.
