Exploring Multani Blue Pottery | Kashigari

A Journey Through History and Craftsmanship

_{The clay used in pot making was historically present in the Indus River and Multan river. Red clay known as terracotta of Multan is very popular. Source}

In one of my previous posts, I shared a few glimpses of blue Multani pottery, and at least two of the readers showed interest in it. There is a very rich history in the Indo-Pak subcontinent, and this blue pottery from our city of Sufis, Multan in Pakistan, has its roots tracing back before the partition. While searching and surfing the internet for information on this special craft, I came across some very interesting details. Additionally, I happen to own some pieces of this blue pottery. So here I am, taking you on a virtual tour of this craftsmanship with its very rich history.

Before we begin, let me show you a few pieces that I possess, just to familiarize you with the type of art I'm going to talk about. The name 'blue pottery' comes from the eye-catching cobalt blue dye used to color the pottery. It is also called 'earthen pottery'.

_{My Collection: The intricate designs on this pottery, known as Kashi or Kashigari, are celebrated for their intriguing patterns, featuring animal motifs, floral patterns, and calligraphy.}

HISTORICAL BACKGROUND:

_{Tomb of Shah Rukn-e-Alam مقبرہ شاہ رکن عالم source}

The art of designing pottery, known as Kashigari, has deep roots in southern Punjab, originating from China and spreading through Iran to the Indian subcontinent. Blue pottery, a significant aspect of this tradition, gained prominence with the arrival of experts in Kashigari during the Arab conquest of Multan. The discovery of cobalt oxide revolutionized architecture, particularly Turko-Persian architecture, by providing a vibrant blue pigment. Blue pottery flourished when Shah Abbas of Iran invited artisans from Kashgar (hence the term Kashigari) to refine the craft in Isfahan, eventually spreading to Afghanistan and parts of present-day Pakistan. Multan emerged as a key center for blue pottery, with experts settling in the region and perfecting the art over generations, making blue their preferred color.

The presence of this art in Multan can be traced back to the saints this city is famous for. This is the tomb of Hazrat Shah Rukn e Alam, a shrine that is visited by over 100000 pilgrims every year. Notice the details on the monument, painted in the trademark blue mosaics of Kashigari pottery. No wonder the second most significant cultural export of Multan is blue pottery.

_{Mausoleum of Tomb Shah Rukn e Alam source}

The prevalent blue Kashigari style in historical buildings and shrines overshadows the decorative aspect.

_{The use of blue color is so evident in the artistry of this Tomb of Shah Gardez, Multan. The ceramic tiles are made from the same principle of Kashigari Source}

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MAKING OF BLUE POTTERY

This traditional craft involves the use of quartz and fullers earth to create a distinctive type of pottery that is then adorned with intricate blue and white designs.

The skill of creating blue pottery is called Multani Kashi or Multani pottery work which was introduced by the local craftsmen of the Multan region. In 1985, Punjab small industries corporation established an Institute of Blue Pottery Development to save the art from extinction. Blue pottery of Multan is at display in president’s house, prime ministers secretariat, culture missions of Pakistan in different countries and British Museum London.

Source

The modern process of crafting Multani Blue Pottery, from casting to finishing, Kashi to glazing, involves meticulous handcrafting, infusion of vibrant blue tones, and a harmonious blend of tradition with contemporary aesthetics to create each piece.

In this video, the craftsman explains the difference between "kashigari" and "naqashi". The former refers to the making of ceramic "tiles," as I mentioned earlier, while the latter pertains to the decorative process on the inside of buildings. The Kashigari applied to pottery and utensils falls under the former category.

He further explains that this craft was traditionally taught at the age of five. However, the education process faced hindrances. His father took the initiative to compile a written form of this art into a book, enabling younger generations to study and continue this craft. His family has been linked with this craftsmanship for the past 900 years.

This is a tedious process comprising eleven to twelve steps. For convenience, I have categorized them into three steps, based on the families/nature of craftsmen involved in the process.

1. Preparation Stage:

• Dough Preparation
  Raw materials such as quartz powder, Multani Mitti, waste glass, Katria Gond, and Saaji are used to create a non-sticky dough, which is stored for at least 7-8 hours before use.

• Mold-Making Process
  Artisans create molds out of Plaster of Paris (POP) to cast the blue ceramic objects in the desired shapes and sizes.

• Products’ Casting
  The dough is spread over a base stone and shaped into a spherical chapatti form, then inserted into the molds. Raakh (burnt hardwood dust) is used to fill the mold to achieve precise shapes.

• Scrubbing
  After drying, excess raakh is removed, and the walls of the product are smoothed to ensure uniform thickness.

• Smoothing
  The dried product undergoes a second finishing process to smooth the surface, preparing it for painting.

2. Design and Decoration Stage:

• Designing
  Designs are hand-painted onto the surface, with artisans creating motifs from their imagination rather than tracing them.

• Color Mixing
  Oxides and Ferro metals are combined with edible gum to create powdered colors for painting.

• Painting
  Designs are filled with oxide colors using fine brushes, with primary colors such as blue, green, yellow, and brown commonly used.

• Glazing
  The object is glazed with a specially prepared solution and exposed to the sun to dry.

3. Finishing and Firing Stage:

• Firing
  The goods are fired in a closed kiln at temperatures up to 800-850 degrees Fahrenheit for 4-5 hours, then left to cool slowly for 2-3 days.

• Finishing
  The final steps involve removing rough edges, sanding the surface, and inspecting the finished goods before packaging for sale.

_{Kumhaar on left & Naqash on right source}

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The person in the video is explaining another variation, i.e., camel skin lamps that could be made and then painted by "Naqash" (a family he belongs to). These lamps are semi-transparent and they are made in a different way. I would not have understood the process if I hadn't watched this documentary.
The craftsman explains that three families are involved in the whole process.

First, the Naqash draws the pattern of flowers, then the Kumhaar makes the mold according to that drawing. Once the mold dries and the die is removed, casting takes place. After casting, the Dugbour family cleans and creates the masks (made up of camel skin) on the mud mold. After the mask dries in 4-5 days, the inner mold is discarded, giving the craft (e.g., vase) its final shape. It is then painted by the Naqash (referencing the beginning of this paragraph where the role of the Naqash is mentioned).

_{Source - This handicraft is a merger of two crafts: pottery with skin lamps.}

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SOME BEAUTIFUL PICKS FOR YOU

_{Such beautiful vases. One vase depicts Sohni with her matka, a heroine from a tragic folk tale of Punjab. Ironically, she was the daughter of a potter.}

_{These plates are totally to die for}

Source

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It's fascinating how little this art has diverted from its original style!

Please do share pictures of blue pottery from your origin or from Multan if you have any. I have come across some fascinating facts about different types of blue pottery. I will wait for you in the comments' section. Do come and share about your unique heritage!

^{Disclaimer:
This article is meticulously researched and heavily sourced to provide accurate information to the best of my abilities. However, despite my efforts, errors or inaccuracies may still occur. I have diligently cited the sources of images and data used in this article, and I have taken measures to ensure that no copyrighted material is included. The majority of images are sourced from advertising sites with proper attribution. The views expressed in this article are solely those of the author and do not necessarily reflect the opinions of any affiliated organizations.}