[13] Hurufiyah refers to the attempt by artists to combine traditional art forms, notably calligraphy as a graphic element within a contemporary artwork.

[14] Hurufiyah artists rejected Western art concepts, and instead searched for a new visual languages that reflected their own culture and heritage.

Sadequain is a pioneer of the style, bringing calligraphy into a mainstream art form, and influencing subsequent generations of Pakistani artists.

It is a linear creation that shows a pageant of intellectuals and thinkers of the Greek era, mathematicians and chemists of the Middle East, scholars of the European Renaissance, and 20th-century laureates.

[citation needed] Sadequain painted the ceiling of the Lahore museum entrance hall, depicting the Evolution of Mankind, and additional nine large panels of calligraphies for the Islamic Gallery.

[citation needed] The ceiling of the Frere Hall, Karachi displays in bold, the words, Arz-o-Samawat (Earth and the Heavens) bears a historical significance, since it represents the last piece of work by Sadequain.

However, because of the security conditions, the citizens are deprived of entry into Frere Hall and the impressive historical building along with the mural lie in desperate need of care.

[citation needed] The mural titled "Saga of Labor" by Sadequain at Mangla Dam is a glowing tribute to the working men and women of all times and places who form the backbone of any society.

The mural hangs in the powerhouse of Mangla Dam and so far endured the harsh environmental conditions of the huge enclosure that also houses gigantic electric turbines.

He witnessed his elders delve into poetry, calligraphy, and even classical music to the extent it complimented marsia khwani – the revered practice to commemorate the martyrdom of Imam Hussain in Karbala.

"[citation needed] Self-proclaimed "Faqir," Best known for his calligraphies, Sadequain painted abstracts, drawings, and sketches on thousands of canvases, volumes of paper, and multitudes of other conventional and unconventional materials.

Sadequain claimed that many of his paintings, especially after the seventies, had been based on calligraphic forms to portray images of cities, buildings, forests, men, and women.

[citation needed] In Pakistan, the art of calligraphy was relegated to a second-class status until Sadequain adapted this medium in the late nineteen sixties.

The sight of the wild cactus growing in scorching heat and surviving the harshest of conditions left a lasting impression on Sadequain.

Contrary to man's images portrayed in Cobweb or Crow Series of drawings, Sadequain glorified the hard work and labour of ordinary workingmen by showing them struggling with primitive tools during the Stone Age, developing agricultural land, discovering scientific breakthroughs, and exploring the universe.

Sadequain has been covered in the print and electronic media extensively such as the TV series "Mojeeza-e-Fun" which highlighted his work in a masterful documentary.

The mammoth book "The Holy Sinner: Sadequain",[17] is a tribute and celebration of this Pakistani artist's vitality, innovation, restless fervor and immense amount of energy.

The fourth stage of the project will consist of four documentaries; both in Urdu and English language and one special feature film would be produced about the internationally recognised artist.

The sections in the book consist of Photographic Essay, Critical Approaches, Recollections, Reproductions, Catalogue, Pictures at an Exhibition, Rubaiyat, Photo Epilogue, Afterward, Life and Works.

Some of the themes of the paintings in the book are 'A stranger in paradise', 'Endless purgatory', 'Rhapsody in Blue', 'Wheel in fire', 'A long day', 'Of human bondage' also included in bold form the poetic verses of Ghalib, Iqbal and Faiz.

The exhibition, featuring more than 200 non-calligraphic works of the Amroha-born artist, was held at Mohatta Palace Museum and it remained open for approximately one year.

Sadequain was an untraditional and self-made, self-taught painter and calligrapher who created a mysterious and mystic environment with his bold and uninhibited use of media and lines had a cult-like following in his own lifetime.

His unique style, whether pertaining to his paintings or calligraphy, was widely referred to as "Khat-e-Sadequain" primarily evolved during his stay at a Karachi seaside desert called Gadani.

The Holy Sinner: Sadequain contains over 400 of his series of drawings, paintings, and murals, each representing a different phase of his career and depicting his unique strokes, style, and color schemes.

It was at Gadani that Sadequain observed the wild growth of cactus in the scorching heat of desert where water was scarce and conditions were harshest.

Hameed Haroon described very aptly as follows: "Sadequain's symbols are part-calligraphic strokes, part-sacred standards or alams that first emerged in the eighth century as the symbols of the armies of Shi'ite Islam, perhaps most visible as representations of allegorical virtue in the annual Moharram ritual following the Karbala massacre; part Sufic tributes to the son-in-law of the Islamic prophet Muhammad, the martyred Ali, whose horned alif in the Kufic script provokes a militancy of sentiment and a plea for transformation based, ironically enough, on the fundamentals of early Islam."

Recently two news stories were printed in local papers, which testify, in the most unconventional manner, to the great stature of Sadequain.

The mural titled “The Treasures of Time” depicts evolution of mankind and traces the history of great scholars, philosophers, scientists, mathematicians, poets, and writers.

Hameed Haroon noted that from this onwards, his intellectual force entered the world of Ovid, the romance of Alexander and the Amroha-spun tales of ancient Greece and Rome, leading to a unique fusion in Pakistan's art history.

PIA owned Mid Way House hotel had a big Sadequain's painting at entrance and lot of other artwork by renowned Pakistani artists.