Human Figure Representation in the Works of Contemporary Afghan Painters

Document Type : Research Paper

Authors

1 PhD of Analytical and Comparative History of Islamic Art, Department of Advanced Art Studies, School of Visual Arts, Fine Arts College of Fine Arts, University of Tehran, Tehran, Iran.

2 Professor, Department of Advanced Art Studies School of Visual Arts, Fine Arts, College of Fine Arts, University of Tehran, Tehran, Iran.

Abstract

This study investigates the representation of the human figure in the works of contemporary Afghan painters, tracing its evolution from early realism to modern and neo-traditional approaches. Contemporary Afghan painting, particularly in the field of figurative representation, experienced a revival after a prolonged period of stagnation through the pioneering efforts of artists such as Ghulam Mohammad Maimangi and Abdul Ghafoor Breshna. While Maimangi primarily concentrated on landscape painting and romanticized depictions of native scenery, Breshna introduced a realist sensibility by portraying ordinary people, thus paving a new path for figurative art in Afghanistan. His committed dedication to realism, psychological depth, and social relevance inspired a generation of artists who sought to balance aesthetic innovation with national and cultural identity. Following his influence, artists including Ghausuddin Naqqash, Karim Shah Khan, Khair Mohammad Yari, and Khair Mohammad Ataei developed figurative representation into an autonomous and expressive field. Their works established the human figure as a central narrative and emotional vehicle in Afghan visual art, gradually separating it from traditional ornamental or purely decorative conventions of earlier schools. These significant developments gave figurative art an independent identity, deeply reflective of both contemporary life and collective memory. At the same time, another notable group of artists such as Homayoun Etemadi, Mohammad Saeed Mashal, and Ghulam Jelani Rouhani sought to revive the classical aesthetics of the Herat School of miniature painting. Their efforts were characterized by an emphasis on delicacy, symbolism, and the metaphysical dimensions of form, reconnecting contemporary creativity with Afghanistan’s rich historical artistic lineage. This neo-traditionalist inclination highlighted continuity within Afghan art while enriching it with renewed spiritual and poetic sensibilities. In contrast, artists like Sayed Moqaddas Negah, Ghulam Mohiuddin Shabnam, and Fatana Baktash Arefi pursued modernist paths shaped by academic training and exposure to international art movements. Experimenting with abstraction and expressionism, they reinterpreted the figure through fragmented forms, dynamic gestures, and socio-political narratives. Their redefinition of form and content introduced modernist harmony, disruption, and cultural critique into Afghan aesthetic discourse. This research further examines how political and social transformations have influenced figurative painting in Afghanistan. The rise and interruption of modernist practices between 1920 and 2000 (1300–1380 SH) mirror the nation’s shifting cultural and ideological landscapes. Wars, regime changes, and displacement profoundly affected artistic production, yet the persistent endurance of human-centered imagery demonstrates the enduring power of figurative art as a complex instrument of reflection, emotion, and identity. Ultimately, the study highlights that figurative painting in Afghanistan transcends simplistic stylistic classification; it embodies resilience, adaptation, and the intricate interplay between tradition and modernity. Through its sustained evolution, this art form continues to provide vital insight into the historical consciousness and creative strength of Afghan artists, contributing significantly to the broader discourse on regional and global modern art. Its rich narrative reveals the complex ways artists negotiate cultural heritage and personal expression, allowing figurative painting to serve as a powerful medium reflecting Afghanistan’s ongoing social transformations as well as its enduring cultural values.

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References

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Journal of Fine Arts: Visual Arts
Volume 30, Issue 4
October 2025
Pages 37-50

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