A Great Art Hero SADEQUAIN’S

THOUGHTS ABOUT SADEQUAIN’S CALLIGRAPHY
Annemarie Schimmel

One of the most exciting experiences of an orientalist is the discovery of mutual relations between various aspects of Islamic culture. The study of the visual arts in Islam excellently complements that of poetry, and poetry can often help to elucidate particular aspects of miniature painting and, even more, of calligraphy. For Islam, the first religion to distinguish between those who were blessed by a Divine Scripture and those who were not, has always largely dwelt upon the importance of the written word. A contemporary historian of medieval philosophy at Harvard has even coined the term “inliberation” God, God’s becoming manifest through a book for Islam, denote the theological concept corresponding to the Christian “incarnation”, God being manifest in a human being.
It is therefore small wonder that the imagery of letters and writing plays such an immense role in the history of Islamic poetry. Beginning with the early Sufis of the 8th and 9th centuries who realized in the letter “alif” the perfect symbol of God’s unity and unicity, there is barely a poet in Arabic, Turkish, and Persian not to mention those writing in Urdu, Sindhi, Punjabi, and Pushto, and even in the vernaculars of Islamic Africa, who has not dwelt upon the imagery of letters, for here he could be sure that his allusions were under-stood by everyone in the Islamic world, including the illiterate at the least sensed the deep meaning of letters, and knew of their mysterious powers.

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SADEQUAIN'S