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rt and culture, are the identity of a nation. By all measures, Sadequain (June 30, 1930 – February 10, 1987) was the finest ambassador of the nation’s identity. He was a polymath; a confluence of Picasso, Michelangelo, Omar Khayyam and calligrapher Yakoot. Likes of him are not born for centuries. His work was like none other, innovative and by all measures, difficult to duplicate.
The 95th birth anniversary of Sadequain, one of the most iconic cultural figures in Pakistan’s history, is both a moment of celebration and deep reflection. It is, in Charles Dickens’ words, “the best of times and the worst of times.” On one hand, we commemorate a man whose art once adorned the grandest walls, whose calligraphy redefined tradition and whose name was known across all five continents. On the other, we mourn the neglect, betrayal and erasure he suffered in the years following his death - a fate unworthy of a national treasure.
A colossus in his lifetime
Sadequain, born on June 30, 1930, was a natural-born artist and poet, who burst onto the Pakistani art scene in the 1950s with explosive energy and a singular vision. His work was instantly recognised for its bold lines, unique symbolism and powerful themes. In his lifetime, Sadequain achieved a level of fame and reverence unparalleled by any other Pakistani artist. He was a household name, admired not just by the intellectual elite but also by ordinary citizens who saw in his art the reflection of their cultural and spiritual aspirations.
His acclaim was not confined to the borders of Pakistan. Sadequain exhibited his work in Paris, New York, London, Delhi, Montreal and all over the Middle East, becoming one of the few Pakistanis whose impact was truly global. He was awarded four of Pakistan’s most prestigious national awards: Tamgha-i-Imtiaz, Pride of Performance, Sitara-i-Imtiaz and Nishan-i-Imtiaz for his lifelong contributions to the arts - an honour no other artist has achieved.
Sadequain adorned the ceilings of the Lahore Museum and State Bank of Pakistan with monumental murals. He illuminated the walls of Frere Hall in Karachi with sprawling masterpieces that combined calligraphy, philosophy and social commentary in a symphony of visual brilliance. He did not sell, but in most cases donated his masterpieces to the institutions.
The Pakistan Postal Service issued a commemorative stamp in his honour, and the State Bank of Pakistan featured his image on currency - an acknowledgement of his unmatched contribution to the country’s cultural heritage.
Three art institutions in Pakistan proudly bear his name in Karachi, Lahore and Islamabad – a testament to his legacy and influence. These institutions, however, now stand as silent witnesses to a complicated and painful aftermath of his passing.
Young artists and scholars must rediscover Sadequain.
The story of his triumphs must be told in full as a tribute to a man who gave his life to art, asked for nothing in return, and in the end, gave us more than we ever deserved.
The writer is a co-founder and innovation lead at Peshawar 2.0, and a faculty member at Edwardes College, Peshawar, where he teaches human resource management and innovation and entrepreneurship.