The meticulously organized display of martyrs' names on black stone in a military museum stands as a solemn tribute, symbolizing the profound sacrifices made for Pakistan. It serves as a poignant reminder of bravery and national unity, ensuring each name is honored with dignity and respect.

The display of martyrs' names on a black stone in a military museum profoundly impacts visitors for several reasons. Firstly, it personalizes the sacrifice, allowing visitors to feel a connection to the individuals listed. This act of seeing specific names evokes a sense of remembrance and honor. The visual impact of names etched in stone humanizes historical events, making them more relatable and touching visitors on a deeper emotional level. The stark contrast of the names on the black stone reinforces the gravity of these sacrifices, instilling a sense of duty and recognition of the courage displayed by those who gave their lives in service.
Moreover, this display fosters a sense of community and shared responsibility. Visitors may recognize names from their communities or regions, strengthening the connection between the military and civilian populations. The black stone, often associated with mourning and solemnity, symbolizes the sombre nature of war and the sacrifices made. Its enduring nature creates a lasting legacy, imparting a sense of continuity and the importance of preserving the memory of those who sacrificed their lives for a cause greater than themselves.
All ranks of the Pakistan Army have sacrificed their lives not only in the Indo-Pak Wars but also in the fight against terrorism. This display is a tribute to these sons of the nation and their units, honoring the memory of the brave soldiers who sacrificed their lives for their country.

The black stone, often associated with mourning and solemnity, symbolizes the sombre nature of war and the sacrifices made. Its enduring nature creates a lasting legacy, imparting a sense of continuity and the importance of preserving the memory of those who sacrificed their lives for a cause greater than themselves.

The Shuhada Gallery was not part of the original museum design; its concept emerged during its establishment. During visits to various directorates and branches of General Headquarters (GHQ), I had a poignant conversation with a clerk who showed me a list of martyrs. This profoundly moving experience inspired me to consider how we could honor all these martyrs in one place. Having visited many museums worldwide, I observed how different nations commemorate their martyrs and felt compelled to engrave the names of our martyrs as well.
I discussed the possibility of obtaining data with the clerk and later with Major Javed of the Shuhada Cell, who was pleased with the idea and immensely supportive. He suggested that data could be obtained from GHQ. Upon returning, I drafted a proposal for the next IHD, highlighting the importance of the display. Our designers, primarily civilians, had already finalized the museum's design and expressed concerns about the additional time and resources required for a new design. Nevertheless, the proposal to commemorate the martyrs from 1947 to the present was compelling, and they ultimately agreed.
I must credit Lieutenant General Sadiq Ali, the then Corps Commander Lahore, who supported the idea and provided full assistance. A letter was sent from the Corps to the Shuhada Cell, and we received all the data in an Excel file. The sheer volume of data presented a new challenge: effectively displaying all the names. Initially, we considered building a wall on the museum's lawn, but Lahore's weather conditions made this impractical. We then decided to construct the wall inside the museum. There was a suggestion to install a large LCD to flash all the names, but it was ultimately decided that the names would be etched on a wall inside the first gallery.
The initial plan for this gallery included a timeline of Pakistan's history on one side and portraits of all Army Chiefs on the other. This was revised to feature the names of the martyrs on one side and the portraits of Army Chiefs in the next gallery. The theme for the gallery was established as “Epitome of Sacrifice and Epitome of Hard Work.”

The theme for the gallery was established as “Epitome of Sacrifice and Epitome of Hard Work.”

Design responsibilities were assigned to Ms. Sadia Khan, Ms. Zeenat Zia, and Mr. Yasir Saeed. We debated the details to include, considering the martyrs' names, ranks, parent units, units at the time of martyrdom, dates of martyrdom, and brief accounts of their sacrifices. Major General Tariq Aman decided that the martyrs' names, ranks, parent units, and units at the time of martyrdom would be displayed. When Zeenat reviewed the data, she found that not even a quarter of the names could fit on the wall due to the large number of martyrs.
To accommodate all the names, it was decided to place them on both sides of the gallery and move the Army Chiefs' portraits to the next gallery. Zeenat proposed creating 'V' shaped walls to accommodate the names, which was eventually approved after much discussion. The next challenge was ensuring visitors could find the names of their loved ones or unit martyrs among thousands of names.
Given the high number of martyrs, finding a specific name presented a significant challenge. It was thus decided to organize the martyrs' data chronologically from 1947 to the present, with each year's data further sorted by rank. The limited number of ranks—ranging from second lieutenant to general among officers and from soldier to subedar major among troops—facilitated this approach. To further ease the process for visitors, each rank's martyrs would be listed alphabetically. This alphabetical sorting, comprising only 26 letters, was expected to simplify the search for specific names.
However, during the organization process, it was discovered that some units had multiple martyrs of the same rank and name, particularly in the 1965 and 1971 Wars. To distinguish between these individuals, it was decided to include their army numbers alongside their names.
Arranging the names of approximately 25,000 martyrs in this specified order was monumental. A sepoy clerk, Fazal-e-Maula, assisted me in this undertaking. Together, we meticulously organized and proofread the data, understanding the sensitivity and importance of accuracy. Any error in the name, rank, or unit of a martyr would be unacceptable, as the loved ones of these martyrs would likely visit the museum and seek to find their relatives' names accurately displayed.
Given the simultaneous construction of the museum's other galleries and ongoing research work, it was decided to send the data to the designers in batches. We compiled and organized the martyrs' data year by year and shared it with the designers, who formatted it according to the established patterns.

The names of martyrs up to 2016 were meticulously displayed before the museum's inauguration. Post-2016, at the end of each year, data is collected from the GHQ and the Shuhada Cell, after which the new names are engraved on the slabs. 

After the initial design, the formatted data was reviewed by museum authorities for approval. Once approved, the data was printed on a flex banner to match the exact size of the slabs. These banners were then placed on the slabs to verify sizing and patterns. Upon final approval, the data was engraved on the slabs. The engraved slabs were subsequently installed in the gallery. This process was repeated for the remaining data, ensuring each name was accurately and respectfully commemorated. This rigorous process underscored the profound respect for the martyrs' sacrifices and ensured that their legacy was preserved with the utmost care and precision.
The names of martyrs up to 2016 were meticulously displayed before the museum's inauguration. Post-2016, at the end of each year, data is collected from the GHQ and the Shuhada Cell, after which the new names are engraved on the slabs. A reasonable number of slabs were intentionally left blank during the initial design and planning to accommodate future martyrs. Each year, these empty spaces are solemnly filled with the names of new martyrs.
In essence, this gallery serves as a profound testament to the supreme sacrifices made by the sons of the motherland, embodying their valor and dedication. 

The author holds a Master's in English Literature and a Ph.D. in Education Administration. He is currently serving with distinction on a second deputation in the Kingdom of Saudi Arabia.