The Call of Love: G.N. Qazi’s Spiritual Tribute to Sindh

In the final week of December 2025, Karachi’s art scene witnessed a powerful convergence of spirituality and heritage as the renowned painter G.N. Qazi unveiled his solo exhibition, “The Call of Love” (Mohabbat Ki Sada). Hosted at the prestigious Artciti Gallery, the show emerged as a cultural beacon during the winter season, drawing large crowds of artists, collectors, and enthusiasts to explore the soul of rural Sindh.

A Grand Inauguration

The exhibition officially opened its doors on Tuesday, December 23, with a ceremony led by Muhammad Ahmed Shah, President of the Arts Council of Pakistan and Sindh Minister for Information. His presence underscored the state’s recognition of art as a vital pillar of national identity.

In his address, Shah lauded Artciti not just as a commercial venue, but as a sanctuary for creative expression. He particularly praised Qazi for his ability to capture the “spiritual essence of Sindh’s historic architecture,” noting that the artist’s work successfully bridges the gap between the physical world and divine inspiration.

The Heart of the Exhibit

The collection featured 21 vibrant artworks curated by F.S. Karachi Wala. Inspired deeply by Sufism, Qazi’s paintings predominantly centered on the shrine of the legendary Sufi poet Shah Abdul Latif Bhittai.

What makes Qazi’s work distinct in this series is his unique color theory. He moved away from traditional palettes to experiment with:

Cool Blue Tones: Used to create a sense of ethereal peace.

Fiery Red Accents: Juxtaposed against calm backgrounds to represent the “burning love” often found in Sufi poetry.

Architectural Detail: Intricate renderings of old forts, rusted balconies, and wind catchers that serve as a signature of his nostalgic style.

Art as Cultural Preservation

Beyond mere aesthetics, “The Call of Love” serves a higher purpose: cultural preservation. Qazi has long been an advocate for Pakistan’s heritage, and these paintings act as a visual plea for the attention and restoration of historical sites. Each stroke on his canvas, whether depicting a dusty street or a holy shrine, reminds the viewer of “bygone days” and the “past glories” of the region.

The exhibition’s commercial success was as notable as its critical acclaim. As the show concluded its run on December 27, it left an indelible mark on Karachi’s cultural landscape, proving that the ancient call of Sufi love still resonates deeply in the modern world.

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