The Eastern and Western amalgamation: a dilemma for Pakistani artists

Abstract

This research explores the combination of Eastern and Western amalgamation in the artwork of Farhat Ali painter. This East and West cultural diffusion discourses inquiries about cultural identity and its conceivable effect. During academics, curriculum studying, and practising Western art and in the paintings, the painter has to produce the-eastern approach. It was unsuccessful as it made the East and West divisions unspecified because the artist had to do such work, which belonged to the culture. The basic structures within the institutions are copied from the West and mainly affect the local art sector and most of the communication being done, which is a clear effect of post-colonialism. It is apparent from Farhat Ali’s work and his practice entirely that he has shrewdly noticed this conflict. Farhat Ali’s choreographed gestures and their placement make for highly dramatized illustrations. It might incorporate calligraphy, miniature painting techniques, or traditional patterns into a modernist painting or use contemporary materials and colours to create classic images. Ultimately, the researcher will prove the East and West combination is a trauma for Pakistani painters. This study also accentuates sociolect-psychoanalytical cultural conflicts and how to affect the feeling and behaviour of characters.

The epistemicide in Afghanistan: an analysis of Taliban’s policies towards national and cultural symbols

“…Culture serves as both a means of identity and a source of it. It is a collection of the most wellknown ideas, a structured system of symbols and meanings, and the artistic creations of the community (Said, 1993;Shabir et al, 2023). The rich mosaic of Afghan culture evolved over millennia with ebbs and flows of internal political disorder and influences from outside.…”