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Multani ceramics and handicrafts preserve Pakistan’s cultural heritage, empower artisans, and promote creative industries locally and globally
Multani ceramics, with floral and geometrical patterns in shades of turquoise, provide an insight into the artistic heritage of the region. In fact, these handicrafts illustrate a journey from ancient civilisation to contemporary society. Tracing the history of Multani ceramics, the artwork has its origins in China and travelled to the subcontinent via Iran.
In 712 A.D., Muhammad Bin Qasim conquered Sindh and parts of southern Punjab. His arrival in Multan was accompanied by skilled artists who introduced “Kashigari”, the artwork on pottery, to the area. Over time, Kashigari was passed down from generation to generation and has now evolved into a uniquely Pakistani art form. Artisans from Multan have played a pivotal role in advancing the art of Kashigari.
Initially, a special clay sourced from the Indus River was used in making the craft. In later years, the clay became contaminated due to water pollution and was no longer fit for making delicate pots. This setback to the tradition of Kashigari was addressed by Ustad Muhammad Alam, who introduced ceramics as a substitute material. In recognition of his services, Ustad Alam was awarded the Presidential Award by the government.
Ustad Alam currently runs the ‘Ustad Alam Institute of Blue Pottery.’ The institute operates on an industrial scale and also offers training to learn pottery and Kashigari. There is also an Institute of Blue Pottery Development (IBPD) in Multan, run by TEVTA (Technical Education & Vocational Training Authority).
Handicrafts beyond traditional forms are also a source of economic growth. A developed handicrafts sector, wherein exporting hubs are uniformly located within the reach of local artisans, will boost entrepreneurial development, alleviate poverty, and contribute significantly to the country’s GDP.
Empowering local artisans through education and providing them with technological know-how is essential to keeping the culture alive in the era of digitalisation
There is a need to value and nurture cultural capital. Empowering local artisans through education and providing them with technological know-how is essential to keeping the culture alive in the era of digitalisation. Research centres on art and craft need to be established in various parts of the country. These centres will serve as creative platforms and contribute significantly towards the cultural promotion of Pakistan.
At the grassroots level, retail platforms for craftsmen, ease of doing business, and facilitation in exporting products to domestic and foreign markets are essential to make the creative industry globally competitive. Craftsmen working in rural areas should be assisted in reaching urban centres. The direct linkage between seller and buyer will generate income for the craftsmen. Small and medium-sized enterprises also require institutional support.
Digital connectivity and the role of media are equally significant in enhancing local artisans’ global outreach. Recently, the first-ever Pakistan-China fashion show was held at the Great Wall of China in Beijing in October 2025. Floral and ajrak motifs, along with traditional clothing of the Han ethnic group, were displayed at the event. The event showcased the synergy between the fashion industries of China and Pakistan. Pakistan’s Embassy in Beijing and the China International Cultural Communication Centre (CICCC) were the organising bodies.
Films depicting the life of a needle worker from South Punjab, how the craft was learned, and the struggles faced can be useful in promoting local artisans. Films on Pakistan’s handicrafts can be aired in foreign countries. For this purpose, collaborative platforms with friendly countries like Turkey, Saudi Arabia, and China can be established.
In order to build a globally competitive and culturally rooted creative economy, collective commitment is required. A working alliance needs to be in place between the government and practitioners, including artists, filmmakers, musicians, and content creators. There is a need to work in unity towards Pakistan’s progress and image projection.
Note: This article appeared in The Friday Times.
Disclaimer: The views expressed in the article are of the author and do not necessarily represent Institute’s policy.