Shahzia Sikaner Who Veiled Anyway

Traditional art has continued in Asia to this day, but rapid change has been taking place. In many countries across Asia, the problem artists are finding is getting rid of tradition and breaking out of that shell. While many are holding on strong to traditions like calligraphy, and Chinese porcelain ceramic making, others are finding a way to fuse the two together. Now artists are finding ways to use symbols and hints of traditional-based art forms to send political, economic, and contemporary issues. Due to the National College of Arts, miniature portraits were making a comeback in the 1980’s to revive traditional crafts. Shahzia Sikander made a breakthrough titled The Scroll. Born in Pakistan, the Asian/American artist had “combined the notion of a moment in time with scenes from a family saga” (289). Sikander’s other miniature painting Who Veiled Anyway? There is a man in this painting wearing a veil, where in her culture it is the women who wear veils. She is …show more content…
He made many hand-printed books, and scrolls that were printed from wood letterpress. This has been said to be one of the most iconic works of contemporary Chinese art. This was a response to the idea that non-traditional artists who had not had been trained as apprentices in the Chinese traditional way were less superior in the art world. Bing was trying to convey that art should not be valued by its craftsmanship or technique but be based on the concept or idea it is trying to get across. Each one of his characters that is supposed to represent the way the traditional the detailed styles of Chinese printing turns out to not even have meaning, even though the characters seem legible. Like Sikander, Bing put a twist on the traditional ways, while still remembering their country’s practices and believes in some form or