‘Beyond Hindu and Muslim’:
Rethinking Iconographic Models and Symbolic Expressions in Sindh, A Case of the Tradition of Rama Pir1
Images, signs and symbols have always been significant intermediaries between the world and its representation before individuals. These images, signs and symbols portray more than just graphical facts, figures and forms; they are a means towards construction of human perception of ‘reality’: the ‘meaningfulness’ of the material world through the same (Lichty 2003: 1). Similarly, iconography, particularly portraying religious images, had played an important role in understanding and describing human interpretations about things beyond human imaginations, for example the matter of the creation of the universe.
The valley of the Indus River, since the time of its civilization’s peak and through local inhabitants and arrival of Muslims, including the Sufi saints, has been rich in its symbolic expressions and materials related to ‘image writing’; more specifically, within the context of the interaction between ‘Hinduism’ and ‘Islam’ in the Indian subcontinent (Khan 2004: 30). Moreover, not much has been written through the iconographic perspective about the cultural heritage in shape of sacred symbols among the various religious traditions in Sindh today.