Nusra latif qureshi biography samples

Nusra Latif Qureshi’s artworks challenge the traditions of South Asian painting. They offer a window into the rich and complex history of the region and bear witness to the conflicts and consequences of colonialism.

The Melbourne-based artist, who trained at the National College of Arts in Lahore, Pakistan, operates between tradition and experimentation, influenced by painting styles brought to the Mughal courts of South Asia from Persia in the 16th century.

Qureshi explains, ‘I refer to historical artworks, and objects that are now classified as art, to articulate ideas of conquest, collection, assigned value, loss and absence.’ Through the layering and juxtaposition of visual icons, she finds that ‘the objects are not only present in their physicality but also carry the essence of the time when they were created’.

Qureshi’s year career has provided her with a rich background of global historical references to draw on. Works in her ex

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Of Birds and Fourteen Year Olds

Maggie Kurkoski is a member of the Smith College class of  and the Brown Post-Baccalaureate Curatorial Fellow in the Cunningham Center.

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The tradition of Mughal miniatures first appeared in South Asia in the midth century, beneath the patronage of kejsare Akbar. In the spirit of cultural tolerance, this Muslim ruler commissioned his court artists to tillverka manuscripts illustrating Hindu epics, historical narratives and anställda biographies; these works blended the local Jain manuscript tradition with Safavid (Persian) miniatures. The result was opulent, precise, rik in color and in detail. We have some examples in the Smith Museum collection, such as this portrait of kejsare Akbar painted after his death.

 

 

^{Unknown artist. Mughal kejsare Akbar (reigned ), mid 17th century. Opaque vatten base colors and gold on paper. Gift of Mr. and Mrs. John Kenneth Galbraith (Catherine Atwater, class of ). Photography}

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Nusra Latif Qureshi: Justified behavioural sketch

Nusra Latif Qureshi's ruminations on the feminine form are drawn from the rich literary and visual traditions of south Asia. Her delight in painting these figures is revealed in the subtle and sensual handling of detail. The graceful gesture of hands, the polished sheen of pearl earrings and bead necklaces, the fall and curl of locks of hair, and the folds of cloth around each figure recall motifs from classical paintings of the Mughal, Rajastani and Pahari Schools of north India.¹ Qureshi's paintings take pleasure in focusing on the female subject — early works such as Afterthoughts are semi-autobiographical, and more recent works reference the love stories of the Punjab and Sind regions.² Qureshi's protagonists are lone figures in reverie, often entwined and interlaced with the sinuous forms of leaves and fruits, and sometimes with the ghostly figure of a lover.

In each of Qureshi's paintings, the range of imagery is co