Historical records show that figural art — imagery of human and animal forms — was widely practised by Muslims as a decorative device in their architecture, states Shaikh Khurshid Hasan in his latest book, Muslim Architecture in Pakistan: Aspects of Figural Representation. Published by the National Institute of Historical and Cultural Research (NIHCR), the book is a fascinating documentation of the numerous instances of figures painted and carved to embellish historic architecture within the region of Pakistan. The book’s primary focus is on funerary architecture, where the author finds a great wealth of figural imagery.

Although the idea of human and animal representation in architecture referred to as ‘Muslim’ may be intriguing — even paradoxical — for some, the writer explains its persistent presence well enough for a general reader. He writes, “The Islamic resistance to the representation of living beings stems from the belief that the creation of living beings is unique to Allah and it is for this reason that the role of images and image makers is considered to be unethical.” The author quotes some hadiths and presents the two points of view on the issue, that where “some liberals permitted the use of figural paintings in secular works of art, more conservative groups or individuals thought that these should be condemned outright...” 

Muslim architecture, as articulated and documented by many scholars such as Robert Hillenbrand, R.A. Jairazbhoy, Henri Stein, Oleg Grabar and Titus Burckhardt, took initial inspiration from regional building styles and developed over time to suit evolving culture. These scholars studied the evolution and regional influences that combined to put together ‘Muslim art and architecture’ in large geographical terrains that were under Muslim rule before colonisation and the two world wars, between the 7th and 18th centuries. The subject is, however, only sporadically covered when it comes to the local region within Pakistan. 

....