One has to just step out into the streets of Lahore to find an assortment of unique Pakistani art and craftwork. This Pakistani art contributed by myriad nameless artisans from all over the country can be viewed as our nation’s pride. While countries all over the world flaunt their culture, we do not give ours the importance which is its due. Let’s take some time to get better acquainted with the wide array of arts and crafts found in Pakistan.
We’ll start our journey in the mountainous northern regions of Pakistan, where the cities of Peshawar and Swat emerge as significant generators of Pakistani culture. Here, our most celebrated art forms come to the fore. Brass work is on top of all handicrafts of Peshawar, which is an art practiced in many regions around the country notably Lahore and parts of Sindh. Brass work involves the engraving of various shapes and patterns onto brass items using the traditional methods of naqqashi (sketching) and khudahi (scraping). The end result is without doubt appealing to the eye. Swat is famous for its woven textiles and embroidered products. While weaving is carried out in many major cities, Swat in particular is a long established weaving centre whose blankets are mentioned even in early Buddhist texts. Swat has also retained its traditional form of embroidery which is probably the most creative and colorful needle artwork found in Pakistan. Pakistani stone craft also has ties with the north. Here, in cities such as Haripur, marble, sandstone and onyx are common materials worked upon to produce a wide range of stone crafted items. These stone products take days to complete and require immense precision and skill from the craftsmen. Taxila, is the heart of stone craftwork in Pakistan. This art which has been present since ages can be seen on many major landmarks of the country, notably the pietra dura work in the Lahore Fort’s Sheesh Mahal.
Statuettes and models of various aspects of Pakistani culture are a common sight in Lahore. Anarkali is a popular spot if one wishes to buy such heritage ornaments, which include small models of tongas, huqqas (smoking pipe), pankhas (fan) and many others. There is even a working model of a nalka (hand pump) in some stores which is truly an eye catcher. Multan will be our next stop, a city which can be considered as the chief handicrafts market of the country. We’ll start with the camel skin craft and ivory work done in Multan. Camel skin is cleaned, dried and mounted onto moulds which can be of any shape desired. Multi-coloured lacquer painting is then used to ornament the moulds, which in the end bear a Mughal or Persian feel. Ivory is crafted into pens, chess sets, jewellery and other accessories such as key chains by expert craftsmen. Multan is then also famous for its pottery, carpets, leather crafts and stone craft.
Stone craft has another centre in Pakistan which is located at Taxila. Taxila has a history of stone craft which has been influenced by Buddhist culture. This is because of it was a popular Buddhist centre in the Gandhara period. To date, stone ornaments are crafted and sold in Taxila which have religious importance among Buddhists. Other than this Punjab is a popular centre of Naqqashi (fresco painting on walls) (Lahore and Multan) and woodwork (Chiniot). Chinioti furniture is famous all over Pakistan. Chinioti woodwork at its best can be seen in the Umar Hayat Palace, an uncelebrated architectural wonder. Sillanwali developed into a hub of woodcraft in the Mughal era. This small town showcases Lacquer Art, an art which is slowly increasing in popularity. Wood is seasoned, cut and a layer of base coat is applied onto it. After that different motifs and designs are engraved onto the wood by the artisan (Naqash), to create ornate tables, pitchers, jars, tables and vases.
Balochistan is our next destination. The barren terrain belies a barren culture but that is not at all the case. Balochistan is as culturally significant as the other provinces. Balochistan produces embroidered textiles and leather crafts. Balochi karhai (embroidery) has a large demand all over Pakistan. The embroidered textiles are used to make shawls, topis (caps), vests and an assortment of dresses. An embroidered triangular pouch (pushk) designed in front of dresses is a trademark Balochi fashion. “Chakkan” is the term given to leather embroidery, which is famous for its intricate design and appealing colour scheme. The items on which leather embroidery is generally done include the upper part of ladies and gents shoes (Sartal), belts, purses, shoulder bags and a number of similar items. This art is peculiar to the Makran district.
Sindh shows off pretty much all of the crafts found in Pakistan, as it is a port city and the commercial capital of Pakistan. Different types of woven textiles are a common sight in the cities of Hyderabad, Khairpur, Halla and Thatta. Karachi is another popular centre for arts and crafts. Metalwork, woodwork and pottery are a few examples of the handicraft items produced there. The highlight of all handicrafts produced in Sindh is the unique pattern known as Ajrak, which is printed on shawls and caps. Over the years, Ajraks have become a symbol of Sindhi culture as it is nowhere else that such a stunning art is practiced.
There is still an art form that remains to be touched. This art form is not peculiar to any province or region; it is a national phenomenon. What we will explore next is the strikingly artistic work found on trucks and rickshaws that inhabit roads all over the country. Showing off floral patterns, calligraphy and sometimes words of wisdom, our vehicle art is an eye catcher for anyone who is viewing it for the first time.
This truck or rickshaw art is done in many cities notably Lahore, Rawalpindi, Karachi and Quetta, and it is observed that every city has its signature style which is different from that of the other cities. Vehicles decorated in Quetta and Peshawar get lots of wood trimming whereas those in Rawalpindi get lots of plastic decoration. Karachi excels in using reflective tapes, also called ‘chamak patty’ in the local tongue and camel bone decorations are used by artists of rural Sindh. Sadly, this tradition is slowly declining. It would be much beneficial for our artisans and our culture if such traditions bloom.
