Annotated Bibliography

Dadi, Iftikhar. "Miniature painting as Muslim cosmopolitanism." ISIM review 18, no. 1
(2006): 52-53.

The passage explores the intricate nature of contemporary miniature art in South Asia,

particularly in Pakistan, challenging the idea that it seamlessly continues tradition or

straightforwardly embraces cosmopolitanism. The author argues that South Asian Muslim

identity is too complex to fit neatly into national boundaries. The revival of miniature art, seen in

both Chughtai's work and that of contemporary artists, involves a nuanced negotiation between

tradition, cosmopolitanism, and national identity. These modern miniatures draw from Mughal

painting, (post)modernism, and Indian vernacular painting, creating a post-national cosmopolitan

Muslim aesthetic. The temporal placement of miniature art, occurring before or after significant

national events, complicates its classification as national art. Additionally, there's an ironic

global dispersion of the recreated Lahore School of Painting, originally associated with Lahore

but now existing globally.

1
Asghar, Sadia. 1907-1917. "Resurgence Of Miniature In Pakistan." Palarch's Journal Of

Archeology Of Egypt/Egyptology 3-7.

The research explores the emergence of "Neo-miniature" art in Pakistan, a contemporary

movement that combines traditional miniature painting techniques with modern themes.

Originating in the late twentieth century, Neo-miniature represents a reinterpretation and

evolution of the traditional form, drawing inspiration from cultural histories such as Persia, India,

and the Mughals. Artists in this movement infuse their work with contemporary elements,

addressing social, cultural, political, and personal issues. Neo-miniature provides a platform for

experimentation with new materials and concepts while preserving the intricate craftsmanship of

traditional miniature art. This fusion of tradition and innovation appeals to both traditional and

contemporary art enthusiasts.