Sadequain Stamps & Souvenir Sheet. (2026-10)

Size of Stamp	280 x 40 mm
Size of Stamp Print	280 x 40 mm
Number of stamps in a Sheet	03 Stamps (Set of 3 Stamps)
Perforations	13 C (Elliptical)
Denomination:	Rs. 60/- each stamp
Size of Souvenir Sheet	165 x 190 mm
Number of stamps in a Souvenir Sheet	04 Stamps
Denomination of Souvenir Sheet	Rs. 120/-
Colors	CMYK
Printing Technology	Lithography Offset
Paper	100 GSM Water Mark Gummed Paper
Gum	PVA
Quantity of Stamp	50000
Quantity of Souvenir Sheet	10,000
Design	Abu Obaidah Ayyaz & Hasnain Mahmud
Printer	Pakistan Security Printing Corporation, Karachi

Sadequain, one of Pakistan's most celebrated and prolific artists, stands as a towering cultural figure whose contributions transformed the artistic landscape of the country. Born Syed Sadequain Ahmed Naqvi on 30th June, 1930 in Amroha, he emerged as a self-taught painter, calligrapher, and muralist whose exceptional talent became evident early in his career. After migrating to Pakistan in 1948, he rose to national prominence during the 1950s and 60s, when his distinctive creative voice began shaping modern art in the region. Sadequain was not merely a painter; he was a thinker, a philosopher, and a poet whose brushwork carried the weight of ideas, struggles, and human emotion. His work explored the complexities of existence, the dignity of labour, and the intellectual spirit that fuels human progress. Over time, he became renowned not only within Pakistan but also on global platforms, exhibiting in Paris, New York, Montreal, and Delhi, where critics hailed him as one of South Asia's most remarkable artistic minds.

Sadequain's art style defied easy categorization, blending elements of calligraphy, abstraction, cubism, and figuration into a deeply personal aesthetic vocabulary. His early work was marked by bold, angular forms and a monochromatic palette that conveyed the turbulence of human struggle. During this period, he introduced his iconic imagery of "cactus forms," symbolic of resilience, endurance, and the human spirit's ability to rise against adversity.

Sadequain was instrumental in reviving Islamic calligraphy in Pakistan. He was one of Pakistan's greatest calligraphers, and he was instrumental in transforming the art of calligraphy into serious expressionist paintings. He claimed that divine inspiration was responsible for his transformation into a calligrapher. Until Sadequain adapted this medium in the late 1960s, the art of calligraphy was relegated to a second-class status in Pakistan. Until then, a few painters had experimented with the medium, but it remained merely an experiment. Sadequain's transformation of calligraphy into a mainstream art form influenced the majority of known Pakistani artists, and calligraphic art now dominates the art scene.

His evolution into calligraphic art initiated a new chapter in Pakistan's visual tradition, reviving Islamic calligraphy through dynamic, modern compositions. He transformed traditional scripts into expressive visual forms, infusing Qur'anic verses and poetry with a rhythmic energy that felt both classical and contemporary. His lines-fluid, confident, and deeply emotive-became instantly recognizable, making him a pioneer of modern calligraphy in the Muslim world. Sadequain was able to take the calligraphy to unprecedented heights, his rebellious soul may be credited for it. rather than the long-standing family tradition of Calligraphy. Like Ibn-e-Muqla's achievement of bringing writing to the aesthetic perfection, Sadequain took the calligraphy to the new frontiers of boldness, vibrating with life that is more enthralling than enchanting. His mixing of classical Khats (scripts) with his abstract styled writing infused a new life in calligraphic arts in the subcontinent.

As a muralist, Sadequain produced monumental works and these grand compositions reflected his mastery over scale and narrative, illustrating complex themes of science, philosophy, and human advancement. The legacy of Sadequain endures as one of Pakistan's greatest cultural treasures. He democratized art by creating in public spaces, allowing ordinary people to witness creative genius unfolding in real time. His lifelong commitment to sharing knowledge often painting in open halls, schools, and public institutions-reflected his belief that art must serve society. Despite immense global recognition, Sadequain remained profoundly rooted in the people of Pakistan, frequently engaging with students, young artists, and admirers who gathered around him. His poetic writings, compiled posthumously, further reveal a mind in constant dialogue with the world's intellectual traditions, blending mysticism, social critique, and philosophical inquiry. Today, his murals are considered national assets, his calligraphy a foundational influence for generations of artists, and his contributions a defining chapter in the history of modern South Asian art.

Sadequain was Pakistan's most prolific painter of his time credited with more than 15,000 paintings. Many of Sadequain's most famous works are vast murals, painted in public buildings, often donated by the artist which can be seen at State Bank of Pakistan Museum & Art Gallery Karachi, Frere Hall, Karachi, Lahore Museum, Power House at the Mangla Dam, Punjab University Library, Lahore, Aligarh Muslim University, Aligarh, India, Banaras Hindu University, Banaras, India National Geophysical Research Institute, Hyderabad, India and Indian Institute of Islamic Research, New Delhi, India.

Sadequain passed away in 1987, leaving behind a body of work unmatched in scale, diversity, and cultural impact. His artistic legacy continues to shape Pakistan's identity, offering a model of creativity rooted in bold experimentation, intellectual depth, and public engagement. Whether through his evocative figures, his sweeping calligraphic strokes, or his monumental murals, Sadequain's art remains a testament to human resilience and the power of creative expression. He is remembered not simply as an artist but as a national icon whose influence resonates across Pakistan's cultural institutions, academic discourse, and contemporary art practices. His legacy ensures that his presence continues to inspire, educate, and uplift future generations, making him one of the most enduring symbols of artistic excellence in Pakistan's history.

His acclaim was not confined within 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: Nishan-e-Imtiaz, Sitara-e-Imtiaz, Tamgha-e-Imtiaz and Pride of Performance forhis lifelong contributions to the arts - an honour no other artist has collectively achieved.

Artwork Introduction (Stamps & FDC)

Stamp Sheet

First Day Cover of Stamps

The mural used on the first stamp - 'Treasures of Time' was created in 1961 by Sadequain for the library of the State Bank of Pakistan, Karachi and was the first large mural in Pakistan (65ft x 10ft). When the new headquarter building of State Bank of Pakistan was constructed in 1961, with several modern and unique features such as escalators and a roof-top garden, the search to identify a capable and accomplished artist to adorn the vast halls and wide corridors of the impressive building culminated on Sadequain. His recognition abroad, his recognition as the most distinguished artist of the country, and his repertoire of large murals, perhaps helped to make the task of the decision makers a matter of natural selection. Fortunately, for the decision makers, Sadequain, who was at that time shuttling back and forth between Karachi and Paris at regular intervals, agreed to undertake the challenge. It was a challenge because he only had three months to complete about a dozen pieces of art, including the gigantic mural.

In the mural Treasures of Time, the historical progress of humanity, knowledge and civilisation is represented through pictorials of 46 philosophers, scholars, mathematicians, scientists, writers and poets ranging from Socrates to Allama Iqbal and Einstein. In the middle is the artist Sadequain himself showing his pulse to Hakeem Al-Razi (details as shown on the pictograms). Sadequain placed himself at number 26, exactly in the middle, nestled between the Islamic golden age scholars and the post-Renaissance Western thinkers. That's not accidental, he's the bridge!

The murals used on the other two stamps and FDC - Arz-o-Samawat (Earth and the Heavens) is a massive, unfinished (70ft x 40ft) mural painted by Sadequain on the ceiling of Frere Hall in Karachi. The mural symbolizes the connection between terrestrial and celestial realms, featuring dissected earth, twin doves of peace, and representations of creation, often interpreted through mythological figures and poetic, calligraphic forms and is considered his last masterpiece. The mural was painted in an astonishingly short time of six months. As if aware of the little time allotted to him in this world, Sadequain worked tirelessly from late 1986 to a few weeks before his death in 1987, determined to go out in a final burst of light. This

work was a break from the calligraphy that had possessed him for several years. With this final piece at Frere Hall, his life had come full circle, since he had held his first exhibition there as well in 1956 which had been sponsored by his patron, Prime Minister Hussein Shaheed Suharwardy. Sadequain passed away on February 10, 1987 without having finished the ceiling mural and large blue swathes of blue paint traverse the ceiling flanking the central parts (shown on FDC).

Souvenir Sheet

Souvenir Sheet

First Day Cover of Souvenir Sheet

1. Lady and the mirror (Starting from top left, clockwise)

تماشا کہ اے محو آئنہ داری تجھے کسی تمنا سے ہم دیکھتے ہیں (غالب) 2

ہم نے مانا کہ تغافل نہ کرو گے لیکن خاک ہو جائیں گے ہم تم کو خبر ہونے تک (غالب) 3

4. Low-Coffee Sadequain

5. Spring in her attire

دگر دانائے راز آید کہ نائد ؟ (اقبال) 6

7. Dancing figures

تیرے ہونٹوں کہ پھولوں کی چاہت میں ہم دار کی خشک ٹہنی پر وارے گئے ( فیض احمد فیض ) 8

Design Elements:- Commemorative stamps of this issue are the longest stamps in the world till date and add a powerful dimension to its significance. Sadequain's own murals often stretched across enormous surfaces and Pakistan Post's apt tribute to the artistic genius of Sadequain in the form of the longest stamp of the World using his murals is a fitting artistic gesture that mirrors his style and scale As an apt tribute to the maestro, stamp and the souvenir sheet figures a distinct inscription of Pakistan in English crafted by Sadequain from one of his works for State Bank of Pakistan. Furthermore, the Urdu inscription of his name was also drawn by him in one of his works.

Sadequain calligraphy

Leaflet of the issue features a Sadequain calligraphy never made public before from the private collection of Professor (Retired) Dr. Zafar Iqbal in 1984, during a visit to his brother's place who was a friend of Sadequain, the painter suddenly requested for a large paper and wrote بسم الله الرحمن الرحیم five distinct styles and signed it for (now late) Sheikh Abdullah Sahib (father of Dr. Zafar Iqbal). When signing his own name. Sadequain used the prefix "Faqir" as he did often in this calligraphy.

Treasures of Time Pictogram

01:-  Anonymous potter from the Stone Age	02:-  Youth
03:-  Socrates	04:-  Plato
05:-  Aristotle	06:-  Euclid of Alexandria
07:-  Confucious	08:-  Herodotus
09:-  Sophocles	10:-  Archimedes
11:-  Dante Alighieri	12:-  Galileo Galilei
13:-  Leonardo da Vinci	14:- Buddha

Treasures of Time Pictogram

15:-  Paradise, Abul Qasim Mansur	16:-  Al-Ghazali, Abu Hamid
17:-  Al-Kindi, Abu Yusuf Yaqub ishaq	18:-  Hunayn ibn Ishaq
19:-  Jabir ibn Hayyan	20:-  Al-Farabi, Abu Nasr Muhammad
21:-  Ibn Sina, Abu al-Husayn bin Abdullah	22:-  Al-Biruni, Abu Rayhan
23:-  Al-Khwarizmi	24:-  Omar Khayyam
25:-  Ibne Rushd	26:-  Sadequain
27:-  Ar-Razi, Abu Bakr Muhammad ibne Zakariya	28:-  Rumi, Jalaluddin
29:-  Al-Idrisi, Abu Abdullah Muhammad	30:-  Hafiz, Shams ad-Din Muhammad
31:-  Ibn Khaldun, Abu Zayd Abd al-Rahman

Treasures of Time Pictogram

32:-  Nicolaus Copernicus	33:-  William Shakespeare
34:-  Isaac Newton	35:-  Immanuel Kant
36:-  Michael Faraday	37:-  René Descartes
38:-  Johann Wolfgang von Goethe	39:-  Adam Smith
40:-  Walt Whitman	41:-  Karl Marx
42:-  Charles Darwin	43:-  Mirza Asadullah Ghalib
44:-  Rabindranath Tagore	45:-  Allama Muhammad Iqbal
46:-  Albert Einstein

Frere Hall, Karachi (established 1865)

Breaking though the cliché-barrier, Sadequain discovered a new art form for himself which he called Mystic Figuration. The new art form got a flying start when the first attempt at mystic figuration: The Last Supper won Sadequain the Biennale (1961) award in Paris.

Sadequain, developed the concept of "Mystic Figuration" to express the existential burdens, sufferings, and metaphysical quests of humanity Inspired by the resilient desert cacti, his distorted, elongated figures act as powerful metaphors for the tormented human soul seeking divine truth.

To commemorate Sadequain, Pakistan Post is issuing a set of three Commemorative Postage Stamps denomination Rs. 60/- each and a Souvenir Sheet valued at Rs. 120/- denomination on 30th June 2026.

Ceiling of Frere Hall Arz-o-Samawat (Earth and the Heavens)

Self Portrait by Sadequain - Karachi, 1960.

Self Portrait by Sadequain - Karachi, 1960.

Centenary International Federation of Philately. (2026-09)

Size of Stamp	56 x 56 mm
Size of Stamp Print	56 x 56 mm
Number of stamps in a Sheet	(3x3) 09 Stamps (Set of 3 Stamps)
Perforations	13 C (Elliptical)
Denomination:	Rs. 30/- each stamp
Size of Souvenir Sheet	180 x 91.50 mm
Denomination of Souvenir Sheet	Rs. 30/-
Colors	CMYK
Printing Technology	Lithography Offset
Paper	100 GSM Water Mark Gummed Paper
Gum	PVA
Quantity of Stamp	0.03 Million (10,000 Each stamp design)
Quantity of Souvenir Sheet	10,000
Design	Abu Obaidah Ayyaz & Hasnain Mahmud
Printer	Pakistan Security Printing Corporation, Karachi

The Fédération Internationale de Philatélie (FIP) is the world governing body for philately and stamp collecting. It was founded on 18 June 1926 in Paris by representatives of several European philatelic federations. Today, headquartered in Zurich, Switzerland, FIP has grown into a global organization representing more than 90 national philatelic federations and several continental federations. Its mission is to promote philately, encourage international friendship, and support the development of stamp collecting throughout the world.

FIP plays a vital role in the philatelic community. It. establishes intemational exhibition standards, grants patronage and recognition to world-class stamp exhibitions, coordinates cooperation among national federations, and maintains close relations with postal administrations and the philatelic trade. Through its specialized commissions covering traditional philately, postal history, thematic philately, youth philately. literature, astrophilately, aerophilately and other fields, FIP helps collectors develop knowledge and expertise in every aspect of the hobby.

Over the past century, FIP has significantly promoted philately worldwide. It has organized and supported international exhibitions, often described as the "Olympics of Philately," where collectors from different countries can exhibit their collections, exchange ideas, and learn from one another. FIP has also conducted seminars, training programs for exhibitors and jurors, promoted ethical stamp-issuing practices, supported the fight against illegal stamp issues, and worked withinternational organizations to encourage stamp collecting across both developed and developing countries. These efforts have helped make philately one of the world's most educational and culturally enriching hobbies.

Recognizing that young people are the future of philately, FIP places special emphasis on youth development. Through its Youth Philately Commission, youth exhibitions, workshops, seminars, and educational programs, FIP encourages children to discover history. geography, culture, science, and art through stamps. FIP also supports regional and international exhibitions that provide opportunities for young collectors to display their collections and gain confidence. By introducing moden exhibition classes and embracing new methods of learning and participation, FIP continues to attract a new generation of collectors and ensure that philately remains vibrant in the digital age.

As FIP celebrates its centenary in 2026, it remains committed to preserving the rich heritage of stamp collecting while inspiring future generations to explore the world through philately. Through international cooperation, education, exhibitions, and youth engagement, FIP continues to strengthen and expand the global philatelic community.

Stamp Sheet

Souvenir Sheet

Design:-These commemorative postage stamps celebrate the centenary (1926-2026) of the Fédération Internationale de Philatélie (FIP), highlighting the enduring appeal of stamp collecting and its role in promoting cultural understanding and international friendship. The first design portrays young philatelists enthusiastically  exploring a stamp album, symbolizing the transmission of knowledge and the growing interest of future generations in the hobby. The second stamp presents a clean and dignified graphic composition featuring the official FIP centenary emblem, the national flag of Pakistan, and the centenary logo, emphasizing Pakistan's participation in the global philatelic community. The third design depicts an experienced collector carefully examining a stamp through a magnifying glass, reflecting the dedication, research, and appreciation for history that characterize philately. Together, the three stamps combine educational, cultural, and symbolic themes, celebrating one hundred years of FIP's contribution to the advancement of stamp collecting worldwide while showcasing Pakistan's commitment to philatelic heritage.

On the Occasion of the Centenary Fédération Internationale De Philatélie, Pakistan Post is issuing a set of three Commemorative Postage Stamps Rs. 30/-denomination each and Souvenir Sheet Valued at Rs. 30/-

First Day Cover

Leaf Let

Golden Jubilee Alpine Club of Pakistan. (2026-08)

Size of Stamp	30.5 x 40.5 mm
Size of Stamp Print	30.5 x 40.5 mm
Number of stamps in a Sheet	(4x3) 12 Stamps (Set of 4 Stamps)
Perforations	13 C
Denomination:	Rs. 30/- each stamp
Colors	CMYK
Printing Technology	Lithography Offset
Paper	100 GSM Water Mark Gummed Paper
Gum	PVA
Quantity of Stamp	0.04 Million (10,000 Each stamp design)
Design	Supplied by the customer
Printer	Pakistan Security Printing Corporation, Karachi

Founded on 15 June 1976, the Alpine Club of Pakistan has played a pioneering role in promoting mountaineering, trekking, rock climbing, adventure tourism, and mountain conservation throughout the country. Over the past five decades, the Club has served as the national platform for climbers, explorers, and mountain enthusiasts, fostering a culture of adventure while encouraging responsible and sustainable engagement with Pakistan's high-altitude environments.

Since its inception, the Alpine Club of Pakistan has organized expeditions, training courses, climbing competitions, seminars, and awareness programs aimed at developing technical expertise and enhancing mountain safety. The Club has also represented Pakistan in international mountaineering forums and has worked closely with governmental and non-governmental organizations to promote the country's unparalleled mountain landscapes on the global stage. Through its efforts, generations of Pakistani climbers have been inspired to pursue excellence in mountaineering and to contribute to the exploration and preservation of the nation's natural treasures.

Pakistan is home to some of the world's most spectacular mountain ranges, including the Himalaya, Karakoram, and Hindu Kush. Together, these ranges contain some of the highest and most challenging peaks on Earth, attracting climbers and adventurers from across the globe. The four stamps in this commemorative series highlight mountains that symbolize the grandeur, diversity, and climbing legacy of Pakistan.

K2:- K2 (8,611 metres), located in the Karakoram Range in Gilgit-Baltistan, is the second-highest mountain in the world and widely regarded as one of the most formidable peaks ever climbed. Known as the "Savage Mountain" for its extreme weather conditions and technical challenges, K2 stands as a symbol of human endurance, courage, and determination. First successfully climbed in 1954 by an Italian expedition, K2 remains the ultimate aspiration for elite mountaineers and serves as an enduring emblem of Pakistan's mountain prestige.

Namika Peak:- Namika Peak, situated within the majestic Karakoram region, is a striking mountain renowned for its rugged beauty and remote setting. Although less known internationally than some of Pakistan's giant summits, Namika Peak represents the vast array of unclimbed and lesser-explored mountains that contribute to the country's reputation as a paradise for mountaineers and explorers. Its dramatic landscape reflects the pristine wilderness and geological magnificence that characterize the northern mountain regions of Pakistan.

Laila Peak:- Laila Peak (approximately 6,096 metres), located in the Hushe Valley of the Karakoram Range, is celebrated as one of the most beautiful mountains in the world. Distinguished by its remarkably symmetrical spear-shaped summit and elegant snow-covered ridge, Laila Peak is a favorite among photographers, trekkers, and climbers. Its unique silhouette rising above the surrounding glaciers has made it an iconic symbol of the aesthetic splendor of Pakistan's mountains. The peak exemplifies the harmony between natural beauty and mountaineering challenge that attracts adventurers to the Karakoram.

Trango Tower:- Trange Tower, part of the famous Trango Group in the Baltoro region, is internationally renowned among rock climbers. Featuring some of the world's tallest near-vertical granite faces, Trango Tower is considered one of the greatest big wall climbing destinations on Earth. The immense granile cliffs present extraordinary technical challenges and have hosted numerous landmark climbing achievements. Its inclusion in this stamp. series recognizes Pakistan's significance not only in high-altitude mountaineering but also in the specialized field of world-class rock climbing.

Together, these four mountains showcase different dimensions of Pakistan's mountain landscape: towering altitude, remote wilderness, exceptional beauty, and technical climbing excellence. They also reflect the spirit of exploration, resilience, and respect for nature that the Alpine Club of Pakistan has championed for fifty years.

The issuance of this commemorative stamp series is both a celebration of the Alpine Club of Pakistan's remarkable joumey and a tribute to the country's mountain communities, guides, porters, climbers, and conservationists whose contributions have helped establish Pakistan as one of the world's foremost mountaineering destinations. It is also an invitation to future generations to discover, appreciate, and protect the magnificent mountain heritage that forms an integral part of Pakistan's national identity.

As the Alpine Club of Pakistan marks its Golden Jubilee, Pakistan Post joins the nation in honoring five decades of achievement, adventure, and service to mountaineering. May this commemorative issue inspire continued exploration, international friendship, environmental stewardship, and a lasting appreciation for the majestic peaks that define the roof of Pakistan.

Stamp Sheet

First Day Cover

Leaf Let