Srinagar, Aug 22: Amid a world divided by politics, borders, and crises, the Valley of Kashmir provided an unexpected stage for global togetherness—through art. The 2nd International Online Art Competition, hosted by Callisto Art & Culture in collaboration with Ehsaas Foundation NGO Kashmir, gathered over a hundred artists from nine countries. Their works transformed a digital platform into a borderless gallery of imagination and dialogue.
The event was the vision of Kashmiri visual artist Zahoor Kashmiri, founder of Callisto Art & Culture, who has consistently sought ways to connect Kashmir to global cultural conversations. “This competition has opened doors for participants worldwide, offering Kashmiri artists a chance to showcase their excellence on the international stage,” he said. “The best way to achieve your target is never to lose hope—keep trying, and success will follow.”
The involvement of Ehsaas Foundation NGO Kashmir, known for promoting Sufi thought, cultural empowerment, and social welfare, gave the competition a social and spiritual dimension. Its Vice Chairman Burhan Nazir noted that the initiative reflected Kashmir’s aspiration to emerge as a center of cultural diplomacy.
The jury added weight to this endeavor. Prof. Zargar Zahoor, former Dean of Fine Arts at Jamia Millia Islamia, praised the works as “a harmonious mix of style and technique.” Turkish artist Dr. Ceyhun Konak admired the multicultural energy of the submissions, while Mexican painter Carlos Miguel Ramirez described the event as “a virtual window into the cultures of the world.” From Peru, Daniel Gallegos Esquivias emphasized how the competition built meaningful global connections “at a time when people can’t really go anywhere.” Closer to home, University of Kashmir Cultural Officer Shahid Ali Khan underlined that such initiatives “keep creativity alive while mainstream institutions remain closed.”
Kashmiri artists step forward
The home valley was well represented. Mehak Mubeen presented Homeward and Sacred Threshold, Syed Mursaleen exhibited Flux I & II, while Dr. Zargar Adil Ahmad contributed Impressions I & II. Mudasir Rehman Dar added his contemplative Peace Series, and Asif Iqbal Khan showcased Untitled and Surah Iklas. Young voices like Riyan Rafiq (Islamic calligraphy), Suhaib Ahmad Hakeem (two untitled works), Noureen (Enduring Patience, Divine Unity), Mir Andleeb (When Eyes Can’t Hold It Anymore, Salaam), Irtiqa Bazaz (The Eye of Dreams, Whispers of the Universe), Irtiza Sharief (Inside the Eyes, Eye Gaze), and Inju Hussain (Islamic calligraphy on canvas) added further layers of local expression.
Voices from across India
Artists from outside Kashmir enriched the event’s diversity. Md Anirul Islam displayed Holy Bird-II and Tranquility-III; Karan Sharma contributed Khwahisho Ki Khidkiyan and Rozi Roti; and Shabnam Rajpoot submitted Ya Hayy Ya Qayyum and Kaaba. Works ranged from spiritual calligraphy, like Shrieen Naaz’s Surah al-Fatiha, to cosmological meditations, like Sonjaye Maurya’s Unity in Diversity and Universe. Others included Jamal Ahmed Shamsuddoha (Ayat al-Kursi, Dua, Surah al-Baqarah), Jaspreet Mohan Singh (Divine Lights, The Visionary), M. Akram Khan (Nature I & II), Neeraj Raina (The Bull I & II), Shahed Pasha (King with his Soldiers, Lav Kush), Sualeha Khan (Serenity, Pond), Sumaid Pal Singh Baksh (The Departure, The Veil), and Zuhaib Wahid (Throne Verse, Echoes of an Infinite).
Global participation
Malaysia brought a colorful lineup with Hairol Masri Nokhil (Perpetuity & Towards Immortality, Home of Clowder), Eda Tan Sew Lan (Loving Couple, Strive), Ain Yusof (Fruits at Ease, Lotus Symphony), Nur Aniyah binti Anuar (Tradition in Motion, Ngajat and Datun Julud), Qaisarah Zainal (Where the Light Found Me, Roads of Adaptation), and Rozanah bt Ahmat (Line and Beauty I & II).
From Sri Lanka came Chandani Jayathilaka (Women I & II) and Sarath Gunasiri Perera (Freedom Search I & II). Indonesia’s Tsabita Saifana caught attention with My Safe Place, My Warzone and Frogs and Lily Pads. Bangladesh’s Shah Raihan Sani exhibited The Kalimah and Ishq. Egypt’s Safaa Afifi submitted untitled acrylic works, and Pakistan’s Maryam Kaleem Paracha contributed untitled pieces as well.
A kaleidoscope of expression
The competition spanned traditions and contemporary concerns: Islamic calligraphy from Kashmir, India, and Bangladesh; meditations on modern anxieties such as Indonesia’s My Safe Place, My Warzone; and symbolic explorations like India’s Unity in Diversity. Media ranged from charcoal and acrylics to digital experiments, creating a kaleidoscope of global practice.
Curator Tasaduq Hussain explained the spirit behind the initiative: “When Covid had closed art schools and galleries, artists felt left out. This competition, under the patronage of Ehsaas Foundation, kept the spark of imagination alive and gave them international recognition.”
Beyond rankings
Ultimately, the competition was not about winners and losers. It was about hope, resilience, and inclusivity. For Kashmir, it meant repositioning itself to the world not through conflict, but through creativity.
As Zahoor Kashmiri concluded: “By art, we express ourselves, but more importantly, we connect humaneness. With Ehsaas Foundation’s support, this was a genuine celebration of global creativity.”
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