Pahari Paintings and Sikh Portraits in the Lahore Museum.

A catalogue raisonne of 535 miniature paintings from the Pahari (Himalayan Hill) States and Sikh portraits from the Punjab Plains. Foreword by Dr. W.G. Archer, Keeper Emeritus, Victoria and Albert Museum, London. Published by Sotheby Parke Bernet (London & New York) and Oxford University Press (Karachi & New Delhi), (1977).

Reviews

• ‘This book is undoubtedly a most valuable contribution to the studies of Pahari and Sikh paintings. The notes on the paintings are perceptive and the text is neat and orderly- the product of a disciplined mind […] His text is clearly written, with scientific precision.' Dr M. S. Randhawa, Marg , Vol. XXXI, No.1, Dec 1977.

• Aijazuddin ‘has produced a most magnificent book. The vast number of paintings have been carefully catalogued. Many lovely ones are reproduced[…] If international goodwill exists anywhere, “it is here, it is here”, and most warmly do I congratulate Mr Aijazuddin for offering this feast to us. Art surmounts political divisions.' Natwar Singh, Financial Times, 8 December 1977.

• ‘This catalogue is an exemplary production of scholarship, beautifully illustrated and completely documented.' Roy C. Craven, Jr., Arts of Asia , Jan/Feb.,1978.

• ‘A volume of sumptuousness and distinction', Simon Digby, Times Literary Supplement , 3 February 1978.

• ‘One views this kind of work with respect and is thankful for the information it contains within the framework of that approach, and for the thoroughness with which the material is gone into. A catalogue like this a rewarding work.' Dr B. N. Goswamy, Journal of Sikh Studies , Vol. IV, No.2, August 1977.

• ‘Highly recommended for undergraduates, graduates and scholars.' Choice , December 1977.

• ‘This magnificent book opens with a vivid metaphor, likening the Lahore Museum collection of paintings to a bear which seasonally slips into torpid hibernation, during which it remains undisturbed and inactive […] Throughout, the text is well- written and eminently readable.' F.R Allchin, British Book News , February 1978.

• ‘While Aijazuddin's attractive solid volume is similar to Archer's, it is far from being a timid imitation of its model. Although he follows Archer's systematic arrangement of material, his introduction and entries not only avoid duplication of the English critic but also contribute valuable new information. Moreover, his literary style, although succinct, apt and informative, carries the reader along with its pleasantly edged wit.' Stuart Cary Welch, Apollo , March 1978.

• ‘This book is a most significant contribution to the worldwide understanding of Indian miniature painting.' Toby Falk, Oriental Art , Vol. XXIV, no.3, Autumn 1978.

• ‘This book is more than a scholarly work on Pahari paintings and Sikh Portraiture. It is an augury that all is well intellectually well in the Land of the Five Rivers; and that there has never ceased to be in Pakistan an elegance of mind was well as a warmth of heart, second to none.' Giles Eyre, Architectural Review, 1978.

• ‘Indeed, a catalogue like this is an important contribution, because in its scientific objectivity, in recording of facts, in its detailed description of entries, it is a pioneer work on the Lahore Museum collection.' Kanwarjit Kang, Indian Book Chronicle , 16 July 1978.

• ‘The greatest merit of Mr Aijazuddin's book is the way in which it draws attention to the richness of the Lahore collection by illustrating its contents…' Clive Dewey, Modern Asian Studies , 14, 3, (1980).

• ‘The work of cataloguing is very precisely carried out, giving all available information, even of acquisition, dealers' names, etc. And useful comments on Gupta's earlier catalogue. We sincerely hope that other museums will realise the importance of such catalogues and follow in Aijazuddin's footsteps. This from of documentation is the very basis for all further research. This catalogue is particularly welcome because of its importance for the study of a collection which is now divided but which still remains a collection of exceeding importance for the study of Pahari paintings.' Karl Khandalavala, Lalit Kala , 1982.

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