Representation of the human figure in the works of contemporary Afghan painters

Contemporary Afghan painting, particularly in the field of figurative representation, experienced a revival after a prolonged period of stagnation with the emergence of artists such as Ghulam Mohammad Maimangi and Abdul Ghafoor Breshna. While Maimangi primarily focused on landscape painting, Breshna introduced a realist approach by depicting ordinary people, paving a new path for figurative art in Afghanistan. Following his influence, artists such as Ghausuddin Naqqash, Karim Shah Khan, Khair Mohammad, and Khair Mohammad Attaie adopted figurative representation as a central element in their works, giving this artistic tradition an independent identity.

Contemporary painting in Afghanistan, particularly in the domain of figurative representation, witnessed a significant revival after a long period of stagnation. This resurgence was primarily marked by the emergence of pioneering artists such as Ghulam Mohammad Maimangi and Abdul Ghafoor Breshna. While Maimangi’s work was largely focused on naturalistic landscapes and romanticized depictions of his surroundings, Breshna introduced a new trajectory in Afghan figurative painting through a realist approach, often selecting ordinary people from everyday life as his subjects. His commitment to realism and local identity made a lasting impact on the future course of Afghan painting.

These artists played a crucial role in establishing figure painting as a distinctive and recognizable trend in Afghanistan’s visual arts, gradually detaching it from the earlier traditional decorative styles and giving it a more expressive and narrative function.

Simultaneously, another group of artists, such as Homayoun Etemadi, Mohammad Saeed Mashal, and Ghulam Jelani Rouhani, attempted to revive the classical aesthetics of the Herat school of miniature painting. Their efforts were rooted in a desire to reconnect with Afghanistan’s rich artistic heritage, bringing forward the detailed, symbolic, and refined characteristics of traditional manuscript illumination and courtly art. They emphasized the spiritual and poetic dimensions of painting, contributing to a neo-traditionalist movement in the Afghan art scene.

In contrast to these traditionalist tendencies, artists such as Sayed Moqaddas Negah, Ghulam Mohiuddin Shabnam, and Fatana Baktash Arefi embarked on a more progressive and modernist path. Educated in academic institutions and exposed to global art movements, they experimented with the figure in more abstract and expressive manners. These artists deconstructed realistic proportions, simplified forms, and incorporated socio-political themes into their compositions. Their work steered Afghan figurative painting toward modernism, reflecting both personal and collective struggles within Afghan society.

This research examines the evolution of figurative painting in contemporary Afghan art and emphasizes the critical role that political and social changes have played in both facilitating and constraining its development. Although modernist trends began to take shape between 1920 and 2000 (1300 to 1380 in the solar Hijri calendar), internal conflicts, regime changes, and the forced migration of artists disrupted the continuity and momentum of these movements. Nevertheless, a close analysis of the works produced during these decades reveals that figurative painting has remained a significant artistic current in Afghanistan. It continues to serve not only as a means of aesthetic exploration but also as a visual commentary on the country’s turbulent history and evolving identity.

Keywords: Contemporary Afghan painting, figurative art, modernism, realism, Herat School.