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EXHIBITION: BEARING WITNESS

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Beginnings
Beginnings

Laila Rahman’s recent show at Canvas Gallery, ‘Witness’, imaginatively investigates an ancient core of cosmic creations. Etchings and sculptural works in monochromatic black and white tell the story of the genesis of the universe and its inhabitants.

Rahman’s visuals engage with the most primal origins of things that belong to a past before recorded history. These include physical as well as metaphysical phenomena, such as water and life, time and myth. Mircea Eliade, a historian of religions, termed this stage “In illo tempore [in that time].” In this elemental stage of cosmogenesis, all is sacred and the realm of the profane has not yet come into being.

Rahman’s narratology of cosmic phenomena is ascribed to divinity. Her fecund imagination visualises creation through a combination of personal iconography (such as the pomegranate fruit) and select scriptural references from the Quran and Bible. These references build a sacred history of genesis from which foundational archetypes emerge to become encoded in myth, religion and moral order.

All cultures narrate stories of origins with unique frames of reference. Greek origin myths explain birth as order emerging from chaos. Islamic narratology maps the foundational order of the cosmos as geometric. The circle and the square also comprise the basic shapes in Islamic geometrical drawing. Their interlacing produces complex arabesques similar to the replacement of the primal void with complex presences.

Laila Rahman’s recent exhibition in Karachi drew upon religion, myth and scripture to fascinating effect

Rahman captures the geometry of a moment prior to genesis in an etching called Void II. Dense black and radiating lines emerge from a central rectangle into a circle. Another etching, The Greater Light to Rule the Day and the Lesser Light to Rule the Night II, reveals the light-giving heavenly bodies: the sun and the moon. The title is taken from Genesis 1:16.

The wide lip of the crescent moon bears the verse in Urdu. As etchings reverse the marks on the copper plate on to paper, Rahman had to dexterously carve the fine lettering in reverse onto the plate. The combination of the verse from the biblical Book of Genesis written in Urdu with the Arabic script creates a profound connection between scripture and languages.

The largest installation at the exhibition is a composite steel relief, eponymously titled Witness. It comprises a large central disc representing the full moon surrounded by eight smaller discs representing lunar phases. Rahman likens the moon to the Honorable Scribes (the Kiraman Katibin) who bear witness to the deeds of humans and — according to Islamic tradition — record every deed in order to testify on the Day of Judgement. The symbolic act of bearing witness has great solemnity. It upholds testimony as validation of moral judgment.

The forms change from sharply geometrical to soft swirls in the etching Beginnings. This work presages the inception of organic forms of life. Three works: In the Beginning There Was a Garden, Fill the Water in the Seas and Let the Fowl Multiply and Let Us Make Man in Our Image II move the narrative of life on earth forward.

Rahman states that her work “emerges at the intersection of the garden, the pomegranate and the moon.” She links cosmic gardens from a time before the creation of Earth to earthly gardens, and then to metaphorical gardens such as states of childhood and innocence. However, the garden also contains a snake that presages downfall and the loss of innocence. The pomegranate is a recurring motif in Rahman’s oeuvre. It is symbolic of both fertility and its corollary — decay.

Rahman’s stainless steel sculpture Garland comprises concentric circles with tongues of flames. There is foreboding as well as beauty in its uncompromising structure. The flames implicitly evoke notions of punishment and suffering. After the creation of a sacred cosmos, a profane dimension comes into being. This is the snake in the garden. Humankind becomes subject to a moral order that is the duality of good and evil.

From void to moral order, time moves past its rudimentary beginnings. Judging by the cosmic narrative told in ‘Witness’, scribes and artists are marking the change.

‘Witness’ was on display at Canvas Gallery in Karachi from December 9-18, 2025

The writer is an independent researcher, writer, art critic and curator based in Karachi

Published in Dawn, EOS, January 25th, 2026



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SMOKERS’ CORNER: MIRACLES AND MATERIALITY

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A recent video showing a Quran that survived the devastating fire at Karachi’s Gul Plaza has reignited a centuries-old conversation. Throughout history, accounts of Bibles, Qurans or Buddhist sutras emerging unscathed from catastrophic floods and fires have been celebrated as Divine interventions. While these events offer profound spiritual solace, a closer look reveals a fascinating intersection of material physics and psychological bias.

From a physical standpoint, Dougal Drysdale, Professor Emeritus at the University of Edinburgh, suggests that a hardbound book’s survival is often due to the ‘Closed Book Effect.’ When shut, a book functions as a dense, oxygen-starved block of cellulose. Because fire requires a steady flow of oxygen to consume fuel, the tightly packed pages resist ignition by preventing airflow from reaching the interior.

In the event of a flood, the surface tension of water against tightly pressed pages creates a natural barrier. This prevents deep seepage for a significant period, often leaving the heart of the book perfectly dry.

American psychologist Thomas Gilovich explains that when a sacred text survives a disaster, it often becomes more than just a book. It is elevated to a sacred relic. This transformation, according to Gilovich, can significantly redefine a community’s cultural path. In the aftermath of the 2011 Joplin tornado in Missouri, US, survivors and news outlets frequently highlighted the ‘miraculous’ discovery of intact Bibles among the rubble of flattened homes.

The survival of holy texts in the aftermath of natural catastrophes is often termed ‘Divine protection’, revealing the cultural and spiritual narratives people love to attach to such instances

While hardbound dictionaries and cookbooks likely survived in the same ruins due to their similar physical construction, these secular items were ignored by the media as mere debris. The surviving Bibles were immediately elevated from functional reading material to sacred relics, often being framed and displayed as symbols of Divine protection.

By focusing on these specific books, the media triggered a cognitive bias that led people to view the event through a supernatural lens rather than recognising the simple physical durability of bound paper.

British scholar Susan Whitfield, in her 2004 work The Silk Road: Trade, Travel, War and Faith, details the discovery of the Mogao Caves in China. In that instance, the sealing of the Buddhist text the Diamond Sutra (868 CE) within a dry, walled-up chamber created a “natural vault” that protected the world’s oldest-dated printed book from the degrading effects of humidity and oxygen for nearly a millennium. The perception of such objects often shifts from the literary to the ‘miraculous’.

During World War I, pocket Bibles carried by soldiers occasionally stopped shrapnel due to the high density of their compressed paper. This led many soldiers to treat the Bibles as protective talismans.

The Codex Amiatinus, frequently referred to as the ‘Grandfather’ of Latin Bibles, has survived for over 1,300 years due to its immense physical durability. According to Drysdale, this enormous volume, created around 700 CE in Northumbria, England, weighs over 34 kilogrammes and was crafted from the skins of more than 500 calves.

The use of high-quality parchment makes the Bible significantly more resistant to fire and decay, as organic animal skins lack the highly flammable, oxygen-trapping fibres found in wood-pulp paper. This Bible remained virtually untouched for a millennium, preserved by the stable environment of an Italian abbey that served as a ‘natural vault.’

In West Africa, the Desert Manuscripts of Timbuktu offer a compelling example of texts surviving environmental factors, a story often framed as miraculous. When Islamist militants set fire to the Ahmed Baba Institute in 2013, there was widespread global concern over the potential loss of thousands of ancient Islamic manuscripts. However, according to the researcher Mauro Nobili, the extreme aridity of the Sahara desert was critical in aiding their preservation for centuries.

The persistently low humidity prevented mould growth and kept the delicate ink stable, allowing for their long-term survival, which many viewed as a modern miracle. However, the more vulnerable manuscripts were secretly shifted to safer locations before the militants set fire to the Ahmed Baba Institute.

During the Viking raid on Lindisfarne — a tidal island off the northeast coast of England — in 793 CE, a legend emerged concerning a sacred book, Lindisfarne Gospels, which was said to have been dropped into the sea by fleeing priests. Three days later, it washed up perfectly dry. While this specific account is often considered apocryphal, the physical survival of such ancient texts is frequently due to their durable leather and metal bindings, which act as a protective shell for the internal vellum.

Gilovich would point to stories such as this ‘dry’ recovery of a Bible as prime examples of how the media and oral tradition prioritise miraculous narratives over the mundane reality of material science, thereby reinforcing spiritual beliefs.

According to the prominent professor of psychological sciences J. Park, communities frequently transform these survival stories into powerful symbols of “Divine protection” as a means of processing the profound trauma of disasters. This phenomenon ultimately highlights a dynamic intersection, where material science meets deep human sentiment.

While the inherent fire-resistant properties of vellum offer logical, scientific explanations for the physical survival of many books, the human psychological element remains paramount. The inherent human need to find order, meaning and hope within chaos is what elevates these surviving sacred objects from mere material items to vital spiritual anchors for a community’s recovery and continuity.

The endurance of these texts represents a profound intersection between material science and human psychology. It is not merely the density of vellum, the chemical stability of ancient inks or the aridity of a desert that ensures survival. Rather, it is the way these physical realities interact with our inherent drive to find order in the wake of destruction.

Gilovich’s research posits that when a community witnesses the survival of a sacred text, they are not simply observing a quirk of physics. They are engaging in what Park describes as “meaning-making”, using the survived sacred object to process trauma and reclaim a sense of ‘Divine protection.’ Whether through the preservation of the Diamond Sutra in caves, or a Bible or a Quran found amidst the ruins of a modern disaster, these serve as a bridge between the tangible and the transcendent. Their survival is a testament to the fact that, while fire and time may consume the material, the cultural and spiritual narratives we attach to them remain indestructible.

Yet, it is equally important that we recognise the physical realities of their endurance, acknowledging that the science of material durability does not diminish the ‘miracle’, but rather provides a rational foundation for understanding how the written word survives the very elements meant to destroy it.

Published in Dawn, EOS, February 1st, 2026



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GARDENING: SWISS ONLY IN NAME

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The colour of the mid ribs and stem often determines the name of the variety | Photos courtesy the writer
The colour of the mid ribs and stem often determines the name of the variety | Photos courtesy the writer

Different varieties of leafy green vegetables (locally known as saag) are commonly grown in the Subcontinent due to the favourable growing conditions here. These green vegetables are prepared in traditional meals that contain the signature South Asian touch. However, Swiss chard remains relatively unknown to many.

Swiss chard is one of the easiest-to-grow leafy green vegetables. Unlike other leafy green vegetables, Swiss chard has beautiful bright green-coloured leaves with white, yellow or maroon midribs and stem. No wonder that a few sub-varieties of the Swiss chard are referred to as rainbow chard!

It is also known as spinach beet and leaf beet, while other names reflect the colour of its stems. For instance, the ones with white midribs are referred to as silver beet and those with red or maroon stems are known as rhubarb chard. Its striking colour combinations make it attractive enough as an ornamental plant.

Scientifically known as Beta vulgaris L. var. cicla, Swiss chard belongs to the Amaranthaceae family, which was formerly known as the Chenopodiaceae family. While it is also considered a beet, its root is inedible. Due to its close resemblance to spinach and beet root, it is not recommended to grow Swiss chard near either of them. Pests and diseases affecting beet root and spinach will likely attack Swiss chard as well.

While many other types of saag dominate South Asian kitchens, Swiss chard — of Mediterranean origin — remains largely unknown here…

Contrary to its name, Swiss chard does not originate from Switzerland. The origin of the ‘Swiss’ prefix remains contentious. One theory is that it is widely grown in Switzerland. In fact, Swiss chard primarily originates from the Mediterranean region. However, it is extensively used in Swiss cuisine.

Another theory is that the botanist who first classified this vegetable was Swiss and used the prefix to create a distinction from other leafy vegetables. The most common theory is that the European seed merchants added Swiss to distinguish it from the closely related French chard. If that were not enough to confuse you all, the word ‘chard’ is of Latin origin, meaning thistle — a common gardening term referring to a flowering plant which has prickly bracts.

Swiss chard seeds resemble those of spinach
Swiss chard seeds resemble those of spinach

Swiss chard seeds are easily confused with those of spinach, due to their stark resemblance. The seeds of Swiss chard are faded brown to dark brown in colour. They have a dry, rough texture and are irregular in shape. The seeds are hard and are surprisingly light for their size. Like spinach, one seed of Swiss chard can result in three to four seedlings. For this reason, it is known as a seed ball, containing potentially three to four seeds.

Being hardy, Swiss chard has minimal requirements. One of the best aspects about sowing Swiss chard seeds is that they can be grown in almost any available space. You can grow it on a strip of land, small pots and even around other plants in the same pot. However, when sowing Swiss chard seeds for a full crop, certain aspects should be taken into account.

In climates similar to Karachi, the seeds can be sown from mid-October onwards or when the temperature falls to 20 degrees Celsius. The potting mix should be pre-moistened and clear of pebbles and stones. Seeds should be placed half an inch below the surface and covered with a layer of compost. The soil should remain moist, not wet.

Depending on the desired yield, any pot size can be used, since the roots are small. Pots should then be placed in a cool shade with indirect sunlight. If the Swiss chard plant is being grown in an open field or in raised beds, it should be shielded from direct sunlight exposure, to minimise evaporation.

Some gardeners prefer to soak the seeds in water for four to six hours to ensure better and quick germination. In favourable conditions, Swiss chard seeds are likely to sprout within one week to 10 days.

Please send your queries and emails to doctree101@hotmail.com. The writer is a physician and a host for the YouTube channel ‘DocTree Gardening’ promoting organic kitchen gardening

Published in Dawn, EOS, February 1st, 2026



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ADVICE: AUNTIE AGNI

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Dear Auntie,
Hope you are well. I am seeking your advice regarding a situation that has been bothering me for a long time. I’m a university student and I met this girl. She seemed very interested in me at that time and so was I in her. We had great chemistry, something I’ve never felt in my life. But I never confessed my feelings to her because of certain things I heard about her. Later, I found out she was dating someone. I internalised my love for her for quite a long time, almost a year, until I couldn’t hold it in, and confessed everything to her, even though I knew she was in a relationship.

The nature of my work requires me to face her and, whenever we work together, that chemistry-like muscle memory hits like a truck and I fall head over heels for her all over again. Even though getting her is nothing but a distant dream, I still can’t get over her and long for her all the time. It’s like a stalemate. I would really appreciate your advice on this.
Longing and Yearning

‘I Am Obsessed With a Woman I Can’t Have’

Dear Longing and Yearning,
This is a classic case of excellent chemistry but bad timing. Auntie has seen this film before and the hero always thinks that this one love is ‘different’. Maybe it is different for you. But the situation is very, very old.

Let’s start with the fact that you don’t want to face… that this is not love. This is emotional attachment, mixed with a heavy dose of imagination. And it is a powerful mix, made more powerful because the person in question is unavailable.

Every time you see her, your brain tells you “Ah yes, the unfinished business.” But notice something important… the girl chose someone else. This was not because you are not good enough, but because her life moved in a different direction. That is her choice, and chasing emotionally after someone who has chosen another path slowly kills your self-respect.

The chemistry you talk about is a result of you training your mind for a year to revolve around her. Of course, your brain runs back there. Our minds do what seems familiar and comfortable. Right now, you are feeding the feeling every time you replay moments and analyse your interactions with her. You are emotionally investing in a door that is firmly shut and you are wondering why you feel stuck outside. Of course, you are stuck!

It is time to start acting professionally with her. And it is time to stop any emotional conversations with her and avoid needless eye-contact. When your mind starts romanticising anything about her, interrupt it with reality, by reminding yourself that she is in a relationship and that you deserve someone who is available.

The person who is meant for you will not require this much suffering just to exist in your life. Mutual love is supposed to feel stable.

You are not losing her. You are grieving a life that you imagined. The grief will pass when you stop feeding it. You are simply holding on to an illusion because it once felt beautiful. Just let it be beautiful. And let it go.

Disclaimer: If you or someone you know is in crisis and/or feeling suicidal, please go to your nearest emergency room and seek medical help immediately.

Auntie will not reply privately to any query. Please send concise queries to: auntieagni@gmail.com

Published in Dawn, EOS, February 1st, 2026



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