The contemporary miniature also referred to as neo-miniature art movement initiated at the National College of Arts (NCA) in Lahore in the 1990s has been hailed as Pakistan’s first home-grown art movement that received international acclaim. It was largely carried on the shoulders of its early proponents that included the likes of Shahzia Sikander, Imran Qureshi, Aisha Khalid, Saira Wasim, Nusra Latif Qureshi, Tazeen Qayyum, Talha Rathore, Ambreen Butt, Sumaira Tazeen, Muhammad Zeeshan, Waseem Ahmed and later Khadim Ali, along with many others not mentioned. It was their “out of the box” or “beyond the borders” thinking and subversiveness combined with incorporation of current affairs, at the local or global level, occurring around them that led to the creation of compelling works that were built on the foundations of the Mughal miniature or manuscript painting traditions of the Sub-continent. Thought-provoking elements in those works brought to bear contemporary social, cultural, political and religious aspects of the times that got global attention, appreciation and recognition. Groundbreaking exhibitions were held at major art institutions in the United States, Canada, United Kingdom, Australia, Austria and Hong Kong, followed by acquisition of contemporary miniature paintings by private and public institutions for their permanent collections. Excellent curating, scholarship and connoisseurship led to contemporary miniature art from Pakistan becoming highly valuable and collectible. Salima Hashmi, Hammad Nasar, Virginia Whiles, Marcela Sirhandi, Taimur Hassan, Kamran Anwar and Amna Naqvi are amongst those who provided their very strong support to this movement through writing, presentation and collection. Exhibitions were regularly held locally and globally that received wide acclaim. Auction houses like Sotheby’s, Christie’s, Bonham’s and Saffron recognized the demand for these artists works and featured them regularly in their auctions, thereby building a strong secondary market.

Visual Storytelling
Miniature paintings have a long tradition of telling stories, whether it’s religious stories, historical events, or romantic tales. Contemporary miniature artists continue this tradition, often layering their paintings with narratives that offer new insights into contemporary life. This is a way for artists to communicate complex emotions, experiences, and cultural narratives using a style that is intricate and visually compelling. These artists in their paintings explored themes related to Pakistani identity, culture, history, and politics. Complex and critical issues of identify, gender and social injustice, nuclear arms race and terrorism in the region, love and hate, dowry and honor killing and other religious, cultural and political influences were incorporated in their bold and beautiful paintings. They brilliantly used traditional miniature techniques to express personal and collective identities, often blending ancient symbolism with modern concepts. It was a way for them to showcase their cultural roots while addressing issues that resonate in today’s World. For example, Tazeen Qayyum’s (b. 1973) “Wedding of a prostitute” completed during her residency in Vienna, Austria supported by UNESCO International Fund for the promotion of culture and exhibited at Gallery Juttner in 2000 was on the cover of the highly controversial invitation card sent out by the High Commission of Pakistan. A statement written by Tazeen Qayyum on the inside of the card read “The challenge for a contemporary artist like myself, who choose a traditional art form, is to make it convincing and relevant to our times”. The painting brilliantly portrayed a wish turning to reality for a sex worker in Lahore with the border formed from newspaper cutouts that caution against imposters. Another painting by Sameen Raja (b. 1977) titled “How do I tell my wife I am gay” exhibited at “Urban Myths” held at the Doris McCarthy Gallery in Toronto in 2007 while inspired by Baba Bharath Singh (clothed and half-clothed) painting circa 1740 in the Bellak Collection in Philadelphia touches upon a subject considered taboo in our culture and results in futile marriages.

Herra Khan (b. 1989) in her paintings completed while studying at the University of British Columbia depicts the impact of climate change resulting in wildfires in Kelowna and the pristine Okanagan valley of British Columbia, Canada. Both of these compelling works were exhibited at "Devoured Earth" at FINA Gallery in 2022 and will be shown at the Morris and Helen Belkin Art Gallery at the University of British Columbia, January 8-April 12, 2026.

Riding the Bandwagon
Seeing the meteoric rise and popularity of contemporary miniature art and artists like Shahzia and Imran achieving global fame, I feel that the new graduates from NCA and other institutions imparting training in miniature art are jumping on this bandwagon with the hope to benefit from its popularity. While they may have the required talent and skills in miniature art, their works are generally mediocre, and mass produced as they are merely making minor variations to the imagery and the medium. By stamping or perforating the Wasli or cutting it into shapes of flowers does not create a differentiation that inspires one to view and reflect on the work, leave alone acquiring it. While small cohorts of 10-12 selected through a highly competitive process is maintained in most institutions for specialization in miniature painting, it seems that the new graduates are not able to take the practice further, as done by their predecessors. The galleries in Pakistan and abroad presenting these newly trained artists should also maintain high standards and only give shows to those who offer something new and different, with depth and meaning. In summary, it’s important to maintain and preserve the quality and prestige of contemporary miniature paintings from Pakistan as it is now under global purview and dialogue. The neo-miniature artists involved are helping shape how Pakistani art and culture is understood both within and outside the country, while creating a unique voice in the World of Contemporary Art.

About the Author
Ali Adil Khan is an art critic, curator, writer and collector. He has organized and curated numerous exhibitions in Canada and abroad, served as an advisor to the Royal Ontario Museum, the Aga Khan Museum, Ontario Arts Council, Canadian Community Arts Initiative and the Art Gallery of Mississauga in Canada. He is the founder and director of Shehla and Adil Giving for Arts (SAGA) Foundation and the South Asian Gallery of Art (SAGA) and a proud supporter of Karachi Biennale 2022 and 2024. He received his education in Karachi and Austin, and now lives and works in Toronto, Canada. He currently serves as the Vice Chair of the Oakville Galleries Board of Directors and is a member of the Acquisition Committee of the Art Gallery of Mississauga in Canada. Over the last 20 years, he has painstakingly built a noteworthy collection that includes Modern and Contemporary artists from India, Pakistan, Bangladesh and Sri Lanka.
Farrukh, N. (n.d.). New directions. Newsline. https://newslinemagazine.com/magazine/new-directions