Sadequain Medium of work, He has worked a lot and made over 15000 artworks in his life, His unique style of presenting his mind though on canvas is incredible and unmatched which introduced a new approach of art other artists and calligrapher.

Calligraphy — Sadequain Medium of Work:

Sadequain received considerable acclaim for his calligraphy from numerous critics within South Asian art. He was an integral figure in a larger Islamic art movement that independently based in North Africa and certain regions of Asia during the 1950s, known as the Hurufiyya movement. This movement represents the artists to merge traditional art, particularly calligraphy, as a graphic component within modern art.

Artists associated with Hurufiyya distanced themselves from Western artistic paradigms, instead seeking to develop a new visual language that resonated with their cultural and historical backgrounds. They adeptly redefined calligraphy, creating a modern aesthetic that was both contemporary and rooted in indigenous traditions. Before Sadequain’s contributions, only a limited number of painters in Pakistan had ventured into this medium. Sadequain emerged as a trailblazer of this style, elevating calligraphy to a prominent art form and leaving a lasting impact on future generations of Pakistani artists.

Murals — Sadequain Medium of Work:

Sadequain served as a social commentator through his art. His murals illustrate humanity’s relentless pursuit to uncover and cultivate the inherent potential within. These works are detailed and populated with imagery, effectively conveying the grand themes he sought to explore. As a distinguished muralist, his creations can be found in several prominent locations, including:

• – The State Bank of Pakistan (100 x 12 ft)
• – The Power House at the Mangla Dam (170 x 23 ft)
• – Lahore Museum, Lahore
• – Aligarh Muslim University (70 x 12 ft)
• – Banaras Hindu University (70 x 12 ft)
• – Geological Institute of India (70 x 25 ft)
• – Frere Hall, Karachi
• – Powerhouse in Abu Dhabi
• – Punjab University Library

In total, Sadequain’s monumental murals, numbering over thirty-five, grace the walls of institutions such as the State Bank, Frere Hall in Karachi, Lahore Museum, Punjab University, Mangla Dam, Aligarh

Muslim University, Banaras Hindu University, the Indian Institute of Geological Sciences, the Islamic Institute in Delhi, and the Abu Dhabi Power House, among others. Notably, his paintings and calligraphies within the Islamic Institute in Delhi alone span more than seven thousand square feet. Sadequain created his earliest murals at Jinnah Hospital and the PIA headquarters during the 1950s, though these works have since vanished, and their current status remains unknown.

In 1961, he completed a significant mural (62′ x 10′) at the Head Office of the State Bank of Pakistan in Karachi, titled “Treasures of Time.” This piece illustrates the intellectual evolution of humanity from the era of Socrates to that of Iqbal and Einstein. It presents a chronological display of notable intellectuals and thinkers from the Greek period, mathematicians and chemists from the Middle East, scholars of the European Renaissance, and 20th-century awardees. This substantial mural has endured relocation from the State Bank to Mohatta Palace for the exhibition “The Holy Sinner,” and back again, bearing visible scars from its journey.

Additionally, Sadequain painted the ceiling of the entrance hall at the Lahore Museum, depicting the Evolution of Mankind, along with nine large panels of calligraphy for the Islamic Gallery.

Sketches — Sadequain Medium of Work:

Sadequain, a figure in Pakistan’s art landscape, is celebrated for his compelling sketches that weave together detailed line work and themes. His art showcases a command of form, where each line vibrates with vitality, capturing the likeness and their essence. The emotional richness present in his sketches is extraordinary. He expresses a range of human feelings, from sorrow to enlightenment, through his application of lines and shading.

His frequently explores philosophical and spiritual motifs, Influenced by Sufism, which served as a source of inspiration. This manifests in his use of symbols, such as circular shapes, to illustrate the cyclical nature of existence and the quest for truth. The figures he depicts often appear in states of deep reflection or spiritual engagement, suggesting a world that transcends mere physicality.

The pronounced contrasts between light and shadow in his sketches accentuate the emotional gravity of the subjects, imparting an almost ethereal quality. Sadequain’s sketches transcend mere technical skill. They are profound articulations of the human experience. His notable figures, including poets like Allama Iqbal, reflect a deep comprehension of their philosophical insights. Furthermore, his representations of ordinary individuals are infused with dignity and depth, highlighting the shared nature of human experience.

Through his sketches, Sadequain skillfully navigates the realms of realism and abstraction, crafting works that draw viewers into a space of deep reflection and emotional engagement. His ability to merge traditional artistic techniques with contemporary sensibilities has firmly established him as one of the most significant artists in the history of Pakistan.

Rubaiyat — Sadequain Medium of Work:

Sadequain hailed from the small town of Amroha in Uttar Pradesh, India. His great-grandfather played a pivotal role in the early development of Mir Taqi Mir, who is regarded as the father of Urdu poetry. Additionally, one of Sadequain’s ancestors was the mentor to Mir Anis, a distinguished religious poet from Lucknow. Growing up, Sadequain observed his family members engage deeply in poetry, calligraphy, and classical music, all of which enriched the practice of marsia khwani, a revered tradition honoring the martyrdom of Imam Hussain in Karbala.

Beginning in the latter part of 1969 and extending into the early months of 1970, Sadequain dedicated himself to the creation, transcription, and illustration of numerous rubaiyyat. In the preface to his collection, he likened his achievement to a bold amalgamation of global artistry, referencing the rubaiyyat of Omar Khayyam, the transcription by the esteemed calligrapher Yaqoot, and illustrations by the iconic painter Mani.

He remarked, “While such a collaboration would undoubtedly yield a remarkable work, it would still represent a collective effort.” Sadequain aspired to create a singular masterpiece, ultimately producing a collection of rubaiyyat that earned first prize from the Literary Society of Pakistan. He privately published four volumes of rubaiyyat: Rubaiyyat-e-Sadequain Naqqash, Rubaiyyat-e-Sadequain Khattat, Rubaiyyat-e-Sadequaini, and Juzw-e-Bosida. The volume Rubaiyyat-e-Sadequain Naqqash featured illustrations accompanied by over two hundred drawings. The collection Juzw-e-Bosida, which included poetry from his teenage years, was privately printed in the 1980s, although the accompanying drawings from that period were unfortunately lost or destroyed.

See Also:

Sadequain Foundation