IT was a week marked by programmes related to an international event titled ‘Sindh through the Centuries’ held in Karachi. On March 2, 1975, an impressive exhibition of antiquities from Sindh was inaugurated at the National Museum to provide a visible expression of the culture of the region from the protohistoric period down to the conquest of Sindh by the British in 1843. The display, formally opened by Provincial Education Minister Pyarali Allana, included pieces of pottery, metal ware, coins, manuscripts, calligraphy specimen, arms and armour, jewellery, stone tablets, and rare books on art and architecture of the area.
The next day, on March 3, the Governor of Sindh, Begum Ra’ana Liquat Ali Khan, inaugurated another exhibition called The Treasures of Sindh at the Arts Council. Speaking on the occasion, she said Sindh had been home of exquisite craftsmanship and skill for many centuries. “This is abundantly clear from the finds collected through excavations showing mastery of execution which is enviable even to the present day.” She pointed out the rich heritage of Sindh had stood the test of changing times and tastes. There was a wide range of arts and crafts which had been popular even with the ladies of imperial Rome. Among those, she mentioned, were the now world famous ajrak and soosi, and were still much sought-after as objects of art and utility. She remarked that the birth of Pakistan had once again given tremendous impetus to Sindhi artists and craftsmen ‘to continue the fabulous journey’ of making further refinements to the ‘already rich legacy’.
On March 5, Dr Asko Parpola, a specialist on Indo-European languages and history at the University of Helsinki was interviewed by the media. He said an 11-year-old research project on Indus script conducted by a team of Finn experts had revealed that the script was Dravidian. The team constituted of himself, his brother Simo Parpola and Robert H Brunswing. He claimed the conclusion would bring out new evidence with the help of some interesting seals from the Middle East, including four round ones with Indus script found in the past decade during excavations in Bahrain and Failaka (Persia). The one from Failaka, the scholar pointed out, was ‘undoubtedly’ locally manufactured — unfinished, unpierced and unique by virtue of having a typical ‘Persian Gulf boss on the reverse with dots in circles intersected by three lines’. The obverse of the seal had Indus script, a Harappan bull motif and a Persian Gulf scorpion symbol. Dr Parpola added the evidence so far collected convinced him and his colleagues that Indus script was Dravidian.
Another culturally significant programme that took place that week was the launch of Urdu poet Saroor Barabankavi’s first collection of verses titled Sang-i-Aftabat the Karachi Press Club (KPC) on March 7. Eminent poet Faiz Ahmed Faiz presided over the launch. Speakers were: Afsar Mahpuri, Sahar Ansari, Anjum Azmi and Qamar Abbas Nadeem. Faiz sahib in his address opined that Barabankavi had used his poetic talent with dedication and perfection. He observed that lyrical words used extensively by the poet were decorative and meaningful, and his expression free from confusion.
Published in Dawn, March 3rd, 2025
