Muzaffar Ali interview: ‘I’ve always admired the free spirit, indigenous traits of horses’

Rumi, fire of love

The book opens with Muzaffar’s Rumi sketches that date back 40 years. These sketches feature a series of lithe lines that depict both rough-hewn portraits and architectural vignettes. Pen and ink, along with a simple sketchbook, are Muzaffar’s most humble tools; they offer a glimpse into the artwork he created for his film on Rumi.

Few religious figures in the history of civilization have crossed the borders of faith, language, and geography as nimbly as Jalal al-Din Rumi, the great 13th-century theologian and mystic poet. On yellowed pages that have witnessed countless sunsets and sunrises, we see doodles and calligraphic script. Muzaffar breathes Rumi through his advocacy of life’s leanings, and the Rumi sketches reflect the mystical aura that he carries within him.

The legend of the horse

Rumi is followed by ‘Equus’, the art of the horse. Amorphous horse heads flit and float through Muzaffar’s canvases. “All the horses I have sketched and painted have a universal identity,” says Muzaffar, a passionate horse lover. “I’ve always admired their free spirit and distinct indigenous traits.”

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Interestingly, a few horse studies have piano bars painted as embellishments. As soon as you see these bars, you think of the great Wassily Kandinsky, who said, “Music is the ultimate teacher.” You also recall Kandinsky’s reflections on colour, which resonate through these delightful horse studies: “Colour is a power which directly influences the soul.” 

In many of Muzaffar’s works, we see rearing horses — figures that span from antiquity to the present day. These powerful images reflect Muzaffar’s belief in the intuitive nature of horses, which, for him, symbolise primal strength and raw emotion. Whether prancing in pairs, a trio, or more, each painting in the book offers something to savour.

The Kashmir Valley and Zooni

The next section is ‘Zooni’, the singer and poet of an unfinished film that still resides in Muzaffar’s heart. Within the book are four portraits, along with stirring sketches created during his time shooting in Kashmir in 1989. Taken from his sketchbook, these pieces are riveting in their resonance.

The Zooni sketches are part of Muzaffar’s storyboards, blending various elements of landscapes and architecture that he envisioned for his narratives. Drawn horizontally in sketchbooks, these minimalist sketches serve as quick notations of ideas spanning different times, plots, and moments. As Muzaffar sketches, his mind races; the lines capture the essence of many untold tales. One striking example is the royal horse with its saddle — its form not only exudes strength and speed but also symbolises loyalty and courage.

The Zooni portraits are a fine example of feminine fervour. The portrait of Zooni with a musical instrument serves as a metaphor for music and melancholy. Intriguing are the frames designed by Muzaffar himself for Zooni, imbued with an old-world charm.

Mosaics and calligraphy

Muzaffar’s next two chapters dwell on small mosaics created in an abstracted tenor and his calligraphic series, which define him as a calligraphic modernist. He weaves Quranic verses that extol the power and divine grace of Bismillah into his work, blending them seamlessly with the arches of time and the vistas of horse stables at his home in Kotwara, Lucknow. His calligraphic series are born of memory and his deep love for horses, which he considers free spirits. He quotes Hazrat Ali: “The beauty of writing is the tongue of the hand and the elegance of thought.”

Equus bronzes and belts

The last two chapters deal with Equus bronzes and belts. The sculptures are horse heads as well as figures. Created in rough strokes of simplicity, they stand in silent grace, evoking the past and the present. Muzaffar’s horse head buckles in the last chapter bring alive the importance of design dictates and the use of metal.

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Muzaffar says: “I believe a great belt buckle embodies rugged elegance and authenticity that resonates with people. Design, to me, is about maintaining honesty to the product, which gives it lasting appeal. Clothes and accessories should reflect and project pride in oneself and in one’s body.”

The customized buckles, designed to complement enviable waistlines, are crafted in various shades of tanned leather, each a stunning piece in its own right. The horse buckle belts are not just accessories; they represent the longevity of an idea — because authenticity, at its core, is timeless. The accompanying photographs of belts showcase the Kotwara label as a refined design statement, exuding understated elegance and class.

Kotwara as ambience

Interspersed throughout the book are a series of portraits of Muzaffar Ali at his home in Kotwara, accompanied by his Salukis and his horse, Barack. The beauty of these photographs lies in how they capture the backdrop of his life as a creator who celebrates every hour and every day. Sitting with his favourite Saluki, Salvador, named after Salvador Dalí, these images stand as a testament to the power of sentience and his profound love for animals.

The book concludes with Muzaffar’s reflections on 60 years of art. He writes, “Painting is a healing art. It is peaceful and meditative. A horse in a mystical trance, a dervish in the garb of a horse, who understands the parameters of ecstasy and the limits of surrender.” This 200-page book has been conceptualised and designed by architect, fashion designer, and film producer Meera Ali. What captivates readers is the harmonious balance of visual and verbal elements, executed with kinetic finesse by Neha Ahuja.

Muzaffar’s Farasnama was launched by India’s eminent art historian and Neemrana Hotels founder Aman Nath at Bikaner House in Delhi on October 19. Notably, Nath had hosted Muzaffar’s art show at Art Today in Delhi in 1999. Speaking about the book, Nath remarked: “Muzaffar Ali is more than a mere artist; he is a creative locomotive. This bookalogue, with its memories, doodles, paintings, photographs, buckles, sketches, and strokes, has been beautifully compiled by Meera Ali, the invisible puppeteer who weaves unseen threads of history and harmony. There is nothing more fulfilling than witnessing Farasnama gallop into posterity.”