KARACHI, July 4 Scholars and critics analysed legendary artist Sadequain's literary genius at the launch of the book Rubaiyat-i-Sadequain Kulliyat, the collection of his rubaiyat compiled by Sultan Ahmed Naqvi at the Arts Council Karachi on Saturday.

Mirza Shaharyar conducted the programme and his hosting was interspersed with the recitation of the artist's poetry and anecdotes related to him.

The first paper of the evening was read by Dr Jaffer Ahmed. He began by resenting the fact that most affluent men in society had a Sadequain painting hung on the wall of his drawing room or workplace but no one tried to understand his art the way it merited.

He said a great many artists imitated his style but he never resisted or took action against them because that would've stalled his ability to work. He said Sadequain was aware of the agony and pain associated with the creative process so he often isolated himself from the rest of the world for months and made paintings, worked on calligraphy and composed poetry.

Dr Jaffer Ahmed said it was astounding how much hard work had gone into creating the rubaiyat because they contained a world of meaning. He said the marked feature of his rubaiyat was the veritable way in which he had presented love — something that helped man rediscover himself. He said the most difficult thing for an artist to do was to face society when it lacked tolerance and denounced art. He said Sadequain was attacked by religious fundamentalists but it did not affect him.

When some of his paintings were labeled 'vulgar', it made him work with more vigour and pace. A big chunk of his poetry dealt with exposing hypocrites and the two-faced people that existed around him.

Dr Jaffer Ahmed said Sadequain's rubaiyat also depicted the agony of loneliness caused by living in a capitalist society. He said his poetry like his paintings and calligraphy truly reflected him and by compiling his rubaiyat Sultan Ahmed Naqvi, Sadequain's nephew, had done a great job.

Known political figure Taj Haider began his speech by tracing his family's ties with Sultan Ahmed Naqvi's. He then stated that Sadequain was a genius who had a passion for art. He quoted his friend who had once remarked “A genius operates on the fringes of consciousness.”

Taj Haider said that in order to study Sadequain's art, it was important to study the time periods in which he was indulged in creative pursuits. He referred to the award that the artist received in Paris, his works belonging to the Hiroshima series, his mural placed at Mangla and his work on Ghalib done in Karachi.

He put emphasis on one part of the book, Rubaiyat-i-Sadequain Naqqash, which had 1,000 rubaiyat and termed it a significant time when he wrote those quatrains.

He said it was period when locally and globally (the Vietnam War) a lot was happening. A war against the 'samraj' was on and the left-wing wanted peace to prevail. He said the artist was part of that war against the anti-peace forces.

Speaking of his personal traits he narrated a tale when a bank didn't keep its promise while printing a diary containing Sadequain's work and printed a separate folio as well.

The incident led to the event when President Nixon wanted through his ambassador to have the great artist's autograph on that folio but he didn't oblige. Later on Sadequain told the ambassador what he thought of America and what role its CIA was playing in toppling governments (Indonesia's) and if it stopped killing people he would willingly give them his autograph.

Taj Haider said the rubaiyat included in the book indicated the artist's opposition to oppression, mullaism and imperialism. He said his love for the working class (labourers, farmers) was also evident from his poetry. He claimed the war between progressive and regressive forces was still being fought and history was heading towards a better future in which Sadequain's dream would come true.

Playwright Fatima Surayya Bajia then spoke about her relationship with the artist and informed the audience they were like siblings.

She lamented that great individuals such as Sadequain, Jaun Elia and Begum Majeed Malik were no more.

The last speaker of the evening was Dr Mohammad Ali Siddiqui. He highlighted the finer points of Sadequain's poetry. He said the rubai was the most difficult of all genres and quoted critic Mahirul Qadri who had praised Sadequain saying that not a single of his rubai had a technical flaw. He said the rubai had no fewer than 24 auzan (metrical systems) and Sadequain even wrote the marsia using the rubai's metre. He said according to a known critic, Allama Iqbal's rubaiyat did not fall into that category and those were qat'aat.

Dr Siddiqui said Sadequain gave equal importance to the art of painting and poetry. He praised the fact that the book had sketches made by the artist corresponding to the rubaiyat, and added that works of the legend were often copied. He said while writing the quatrains Sadequain was like Josh, a free thinker.

Touching upon the aesthetic aspect of his poetry, he said the artist wanted the husn (beauty) to revere his art. He said Sadequain had migrated from Amroha, which was a cosmopolitan city where there were no sectarian or ethnic strife.

After Mr Siddiqui's paper, Taj Haider read out a few of Sadequain's rubaiyat.

In the end, honorary secretary of the Arts Council thanked the participants and the audience for attending the book launch.

An exhibition of the artist's sketches and drawings also commenced at the Arts Council's Ahmed Pervaiz Art Gallery on the occasion.—Peerzada Salman