Art Exhibit - Hazara Community
- AGVC
- Mar 27
- 6 min read
Updated: Mar 30
Hazara Collection
Buddha of Bamiyan
Arif Bahaduri
Watercolor and ink on paper
This artwork reimagines the Buddha of Bamiyan, a symbol of cultural heritage and spiritual presence, in a haunting and evocative manner. The ghostly outline of the destroyed Buddha looms over a cascade of disembodied eyes, spilling downward like a torrent of sorrow. Desperate hands emerge from the depths, reaching upward, perhaps in anguish, resistance, or an unfulfilled plea for justice. The background, textured with warm yet fractured hues, speaks of decay, destruction, and a history marred by violence.
This piece draws a chilling parallel between the erasure of the Bamiyan Buddhas and the genocide of the Hazara people in Afghanistan. Just as the Buddhas were obliterated in an act of ideological and cultural destruction, the Hazara community has endured persecution, targeted massacres, and systemic violence. The cascade of eyes might symbolize the countless Hazara victims—witnesses to their own suffering—whose pain and presence persist despite attempts to erase them.
Buddha of Bamiyan
Arif Bahaduri
Mixed media on paper
This artwork presents a haunting reinterpretation of the Buddhas of Bamiyan – symbolic of Hazara cultural identity – blending history, spirituality, and destruction. The central figure, draped in flowing robes, appears weathered and eroded, symbolizing the passage of time and the tragic loss of the original statues, which were destroyed by the Taliban.
Surrounding the figure are ghostly faces and skeletal remains, evoking themes of war, decay, and the fragility of cultural heritage. The muted earthy tones, tinged with reds and browns, create a dreamlike yet somber atmosphere, as if the image itself is dissolving into history. This piece is a powerful meditation on resilience, loss, and the impermanence of even the grandest monuments.
Through this deeply symbolic and emotionally charged composition, this series mourns both cultural and human loss, serving as a stark reminder of the fragility of existence, the weight of history, and the resilience of those who refuse to be forgotten.
Dreaming of School
Arif Bahaduri
Watercolor and ink on paper
This evocative artwork captures a haunting blend of innocence and sorrow, symbolizing loss, resilience, and a deep connection to history. A young girl’s face emerges from the landscape, seamlessly merging with the earth, as if she is both a part of it and trapped within it. Her gaze is calm yet profound, carrying an unspoken weight of pain and endurance.
Above her, wilted tulips—traditionally symbols of the Hazara people—droop in a lifeless arc, their withering forms echoing tragedy and forgotten suffering. The red-stained sky, coupled with the stark contrast of light and shadow, suggests a history of violence and loss, alluding to the struggles and genocide faced by the Hazara community in Afghanistan.
The blending of human and nature in these pieces speaks to the enduring spirit of those who have suffered but refuse to be erased. It is a tribute to lost innocence, an unyielding presence of memory, and a silent plea for justice and recognition. The desolate landscape, the mournful flowers, and the piercing eyes of the girls weave together a narrative of grief, survival, and the hope that one day, the wilted will bloom again.
The Dambora Player
Arif Bahaduri
Watercolor, ink and coffee on paper
The image of an old hunchback man playing the Dambora on a red rug reflects a moment of emotional release in Hazara culture.
The Dambora—a traditional string instrument deeply rooted in Hazara culture—is used to express both joy and sorrow, offering comfort in times of pain.
The rugs are common in Hazara homes, symbolizing warmth and tradition. Through the music, the man seeks solace, connecting to his emotions and preserving his cultural identity.
Chehel Dokhtaraan (The Forty Girls)
Murtaza Ali
Painting, mixed media
Inspired by an epic Hazara legend, this work pays tribute to the 47 young women who resisted violent attacks in Uruzgan. Surrounded by advancing troops, the girls fled to the Shashpar Mountains—but the violence followed. Facing imminent capture and the threat of losing their dignity, they made an unthinkable choice: to leap from the mountaintop rather than surrender.
Their blood stained the rocks below, marking a place now known as the Chehel Dokhtaraan Mountains—named in remembrance of their courage and sacrifice. This piece evokes their story as an enduring symbol of resistance, dignity, and the price paid to preserve both. Poems and oral histories continue to honor their legacy today.
In Limbo
Murtaza Ali
Painting, mixed media
This painting was created in response to the trauma experienced by Hazara refugees stranded in Indonesia. Fleeing persecution in Afghanistan, many Hazara people sought safety through irregular migration routes, only to find themselves in prolonged limbo—denied legal status, employment, education, or resettlement options. Trapped for years with no clear path forward, the weight of uncertainty has led to widespread psychological distress and a tragic rise in suicides within the refugee community.
The artist channels the grief of losing friends to this despair, describing a personal struggle between holding on to hope and surrendering to hopelessness. In painting this piece, they found a sense of relief and renewal—a reclaiming of hope for the future. The work stands as a powerful reflection on the emotional toll of statelessness and the quiet resilience that persists in the face of it.
The Resilience
Murtaza Ali
Painting, mixed media
This painting speaks to the quiet resistance of those who long to grow freely but are held back by trauma and societal restriction. Like a plant contorted by its environment, the subject reflects how identity and potential are shaped—and often stifled—by forces beyond one’s control.
For Hazaras, this struggle is all too real. Whether in Afghanistan or in host countries like Pakistan and Iran, they face systemic injustice, denied access to education, safety, and opportunity. Yet the will to grow remains. This piece honors that resilience—the determination to push upward, even when the world presses down.
ABOUT THE ARTISTS
Arif Bahaduri (b. 1992, Afghanistan) is a multidisciplinary artist whose work spans mixed media, painting, and performance art. Raised in Kabul,He began his artistic journey in 2007, studying under a private art tutor. Throughout his early practice, Bahaduri honed various techniques and developed a deep understanding of materials, which he now uses to imbue his works with layered meanings.
In 2013, Bahaduri earned a place among the top 10 finalists for the Afghan Contemporary Art Prize, a pivotal moment that introduced him to the world of contemporary art and broadened his artistic horizons. His work is known for its emotional depth and exploration of identity, culture, and the human experience, often merging traditional and modern elements.
Bahaduri's art has been showcased in both solo and group exhibitions in Canada, Wales, Afghanistan, and internationally. He has also completed an artist residency, further expanding his creative practice. Through his work, Bahaduri aims to provoke thought and dialogue, inviting viewers to engage with the complexities of his cultural heritage and contemporary life.
Murtaza Ali is a Hazara visual artist based in Toronto, Canada, specializing in abstract and semi-abstract painting. He is currently pursuing a Bachelor's degree in Social Work at the University of Toronto, where he engages in interdisciplinary studies that inform both his artistic practice and his commitment to social justice. Beyond his artistic endeavors, Murtaza is actively involved with Northern Lights Canada, a non-profit organization dedicated to supporting immigrants, particularly refugees, through private sponsorship programs. As a volunteer, he contributes his time and expertise to assisting newcomers in navigating the complexities of resettlement, fostering a sense of community and belonging.
Murtaza Ali is a recipient of the Newcomer and Refugee Artist Mentorship grant from the Toronto Arts Council, through which he is currently working under the mentorship of Lisa Cristinzo. His artistic practice, coupled with his dedication to community service, reflects a deep commitment to both creative expression and social advocacy within his local community in Toronto.
OTHER RESOURCES
Some of the main sources about Hazara genocide
• This year, the American Bar Association passed a resolution calling for governments to prevent further acts of genocide against the Hazara:
• UN Special Rapporteur Richard Bennett called the attacks international crimes and demanded accountability, while UN Secretary-General António Guterres condemned the latest killings and stressed the need for civilian protection in Afghanistan.
• Recently, the Standing Committee on Foreign Affairs and International Development of Canada has profoundly recognized the Hazaras' long history of persecution and massacre,from the atrocities of 1891-1893 to the current threats they face in Afghanistan:
• A British Parliament report (September 2022) warns of a serious risk of Hazara genocide:\
• Dr. Gregory Stanton, President of Genocide Watch, states that the Taliban has committed and is committing genocide against Hazaras:
• According to UNAMA, consistent with trends observed in past years, many suicide and other bomb attacks on civilians targeted Shia Muslims, particularly ethnic Hazaras.
• The Afghan State and the Hazara Genocide (Harvard Human Rights Journal, Vol. 37 (2024)
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