Moyene Najmi

(1928 - 18.06.1997)
  Participated in Punjab Fine Arts Society Exhibition Simla with Amrita Shergil, S. Roerich, Jamini Roy etc., 1946; studied painting under Professor S. Roerich at Sulalha Simla Hills, 1946-47; set up own studio in Lahore 1948-49; organized art classes at Pakistan Arts Council, Lahore 1951-52; founder member Lahore Art Circle comprising of Shezma, Ali Imam, Mariam Shah, Ahmad Parvez, Razia Feroz etc., 1952. His work figures in the following collections: Pakistan Arts Council Lahore, Dacca, Karachi, Government House Murre; Lahore Museum; The Punjab Council of Arts, Lahore; Peshawar Museum; Lincoln Gallery, London; and private collections at Lahore, Karachi, Colombo, New york, London.
 
Wazir Khan's Mosque, mid fifties
Wazir Khan's Mosque was built in 1634 AD/1044 AH by llm al-Din Ansari of Chiniot. He rose to become Emperor Shah Jahan's vizier, then the Governor of the Punjab. He founded a madrissa, school, in the mosque built around the tomb of the fourteenth century saint, Syed Muhammed Ishaque alias Miran Badshah, who came from lran and settled in Lahore. Wazir khan created a trust bequeathing shops, Hammams, gardens, serais and houses on the street from the mosque to Delhi gate for the upkeep of the mosque and madrissa.  
 
Old Lahore-II, early fifties
In the late semi-abstract manner, the artist extracts essential details to register his response to the people, streets and buildings of Lahore.  
 
Nila Gumbad / Blue dome, early fifties

Nila Gumbad, or the 'blue dome' marks the tomb of Sufi saint just outside the Anarkali bazaar. In this painting however Nila Gumbad has tantalizingly been ignored.


The high view-point, looking down on the street, captures deftly the scene in colourful quick and simplified manner. The work appears to be impressionistic but is not. This vision and method of working was prevalent all over South Asia several decades before independence. Raza, an Indian painter was extremely successful in this sort of work, executed under the influence of Langhammer, a teacher at J.J school of art, Bombay. Ali Imam, his brother, brought the influence to Lahore. Najmi a close associate of Ali Imam, began to paint in this style. Soon however both like others of the Lahore art circle, begin to abstract their work.

Prof. Khalid Iqbal

 
 
Lahore, early fifties
This important work shows the transitional phase between the earlier and the late style. The almost impressionistic manner, has given way to selection of certain evocative elements from the larger subject. Already the grammar of Najmi's later semi-abstract repertoire is visible. This significant missing link affords new depth to, and understanding of, the painter's creative continuum.  
 
Old Lahore-I, early fifties
In the late semi-abstract manner, the artist extracts essential details to register his response to the people, streets and buildings of Lahore.  
 
Shalimar, 1975
Amongst the ornamental trees most popular with the Mughals was the cypress. Tall, dark and tapering it enhanced the elegant majesty of Mughal buildings, Mausolea and gardens. The artist has incorporated cypress, as a design along with shapes of Shalimar pavilions, in a semi-abstract composition.  
 

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