ORIGINALLY PUBLISHED IN YOULIN MGAZINE
Written by: Nayha Jehangir Khan Posted on: September 28, 2021 | | 中文
Shahi Mosque, Chinot
The photography exhibition titled “Tapestry Of Faiths” by Mobeen Ansari is a celebration of the cultural diversity that is thriving on the social peripheries of Pakistan. Hosted by Prof. Dr Murtaza Jafri, Principal of the National College of Arts, the exhibition is on display at the Zahoor-ul-Akhlaq Gallery, along with screening of Ansari’s debut short film “Hellhole”. Ansari is a prolific Pakistani photojournalist and artist based in Islamabad. Having attended NCA himself, he returns to his alma mater to share his photography and publication journey with students and visitors of the campus.
St. Anthony's Church, Lahore
His photographs are a window into understanding the shared history and cultural overlaps between various communities, religions and ethnicities of Pakistan. As we walk along each photograph hung on the gallery walls, the differences between communities begins to blur and a sense of connectivity starts to resonate from the display.
A photograph of famous singers Alamgir Haq and late Aamir Zaki in 'Dharkan, The Heartbeat of a Nation'
Mobeen’s first photography book, ‘Dharkan: The Heartbeat of a Nation’, features the portraits of iconic personalities of Pakistan, who have positively impacted the image of the country. Ansari’s second photography book, “White in the Flag: A Promise Forgotten”, features interesting characters and important festivals of the religious minorities in Pakistan.
Ansari has been a speaker for TED talks where he shared the joy and the journey of finding long-lasting relationships with those he has photographed. Having exhibited his work in the USA, Italy, China, Pakistan, India and Iraq, Ansari has created a body of work that truly captures the heart, mind, body and spirit of Pakistan. In his film ‘Hellhole’, based on the life of a sanitation worker, the images are stark and haunting, deliberately kept black and white to create a hypnotic series of frames. We begin to understand that Ansari is inviting us into the lives of the people he chooses to photograph.
Baisakhi, Gurudwara Sri Panja Sahib
As we gaze into the striking colours of “Sikh pilgrims celebrating Baisakhi, Gurdwara Sri Panja Sahib” taken in 2019, we begin to imagine the music, excitement, and reverence shared by the community on their special occasion. In that sequence, there is “Madavsaro, a Zoroastrian/Parsi pre-wedding ceremony”, which depicts bonding and prosperity. Another photograph titled “Hindu women in Mithi, Tharparkar” feel simpler and was taken earlier on in 2013. The artist has spent an extensive amount of time establishing his own sense of kinship with each of these communities. In his publication, “White in the Flag”, he shared the profound impact it has had on his own life.
Parsi wedding celebrations
Ansari does not stage these moments, he gradually assimilates himself into the environment and community, presenting the viewer with an authentic view of a ritual or ceremony. In “Devotee in Ganga Pond Hansraj Kothi”, he describes how “a Hindu devotee immerses himself in Ganga Pond in Nagarparkar. It is believed that its waters come from the Ganges. It is also one of the places Pakistani Hindus come to scatter the ashes of their loved ones.” His detailed accounts of each photograph show his immersive practice in participating and engaging with each story on a personal level. His “Portrait of Bibi Kai, a Kalash woman in Rumboor valley”, shows his quest for discovering the people of Pakistan resulting in a close relationship with his subjects.
Bibi Kai
There are recurring motifs that cross over between temples, churches and mosques. The echoes of colours can be seen throughout the photographs, creating familiarity and similarity between different regions and their cultural embellishments of festivities. The use of natural light in his photographs creates enchanting and emotive compositional frames. In “A devotee offering prayers at Shahi mosque, Chiniot”, “Interior of Saint Dominic’s Church in Bahawalpur”, and “Wisdom within the walls of Maryam Zamani Mosque, also known as Begum Shahi Mosque, Lahore” we are transported to the transcendental ambience of these sacred spaces.
Mahabat Khan Mosque, Peshawar
Ansari’s practice is to witness and capture the stories of other people and places without any preconceived notions or biases. The deep reflections are introspective, and highlight the need for discovering more about other communities. The images are relatable and familiar that draw in the viewer, taking them along on his travels and experiences. He is interested in capturing life, history and all the various meaningful exchanges between people. In “White in the Flag: A Promise Forgotten”, Ansari says “I am very fortunate to have been able to put this book together. I’m fortunate because of how much it has enriched me, and how much I have seen and learnt in the process.” The exhibition continues to 30th September 2021 at Zahoor-ul-Akhlaq Gallery from 11am to 5pm.
A portrait of a female footballer in 'Dharken, The Heartbeat of a Nation'
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