The Legacy of Blue Pottery (Kashigari) in Multan & Sindh: A Complete Historical and Technical Analysis

Centuries ago, on a sun-drenched afternoon in the city of Multan, a boy sat cross-legged beside his father in a small, open-air workshop. His father, an old craftsman with indigo-stained fingers, dipped a slender brush into a bowl of cobalt blue glaze. With steady hands and quiet breath, he painted a delicate arabesque—a swirl of vines, petals, and sacred geometry—onto a sun-dried bowl of raw clay. The air smelled of wet earth and wood smoke. The silence was reverent. The moment, timeless.

“Why do we only paint in blue?” the boy once asked.

The father smiled, not pausing his work.

“Because blue,” he said, “is the color of heaven. And through our hands, heaven touches the earth.”

This boy would grow to become one of the last great Kashigars of his generation. His name may never be known to the world, but his art would live on the walls of shrines, under the domes of saints, and in the homes of kings.

Multan, the fabled City of Saints, is more than its shrines, sohan halwa, or its burning summer heat. Beneath its dust lies a legacy forged in fire—the sacred craft of Blue Pottery, known locally as Kashigari. It is a tradition that whispers stories from ancient Persia, travels with caravans along the Silk Road, and anchors itself in the tiles of Shah Rukn-e-Alam’s tomb, glowing cobalt under the desert sun.

But this is not just a story of beauty.

It is a story of survival.

For centuries, this art form—born of Persian roots, Chinese influence, and Multani soul—has been passed down through families, guarded like scripture, and shared with students like a sacred oath. And yet, today, the clinking sound of wet clay against potter’s wheel is fading. The kilns burn less brightly. The indigo is drying up.

In an era of mass production, where beauty is often replicated, not created, the handcrafted legacy of Multani blue pottery stands at a crossroads.

This is the story of an endangered art. Of master artisans like Ustad Alam who shaped more than ceramics—they shaped history. Of shrines, palaces, and people bound together by a color as eternal as the sky. And of a heritage that could vanish unless we remember, revive, and revere it.

So let us journey into the heart of Multan.

Into its kilns, its shrines, its poetry—and the last surviving homes of the color that once made empires kneel.

Let us follow the blue thread of history—before it disappears.

Origins and Historical Roots!

Blue Pottery, locally known as Kashigari, is not merely a decorative art—it is a historical legacy spanning millennia, deeply intertwined with the cultural exchanges along the Silk Road and rooted in the artistic traditions of Persia, Central Asia, and South Asia.

The Silk Road and Cultural Transmission

The origins of blue pottery can be traced to Persian civilization, particularly the city of Kashan in Iran. Kashan was a renowned center for ceramic innovation, especially during the Seljuk (11th–13th century) and Safavid (16th–18th century) eras.

• The Silk Road, both overland and maritime, played a pivotal role in transmitting Persian cobalt-glazing techniques eastward to Kashgar in China, then into South Asia.

• Initially alien to Chinese tastes, cobalt blue was even referred to pejoratively as “Mohammedan Blue” (hui hui qing). However, it was eventually embraced and became the signature feature of Chinese blue-and-white porcelain under the Yuan (1271–1368) and Ming (1368–1644) dynasties.

• Persian cobalt ores (sang-i-lajavard) and lapis lazuli from Badakhshan (modern-day Afghanistan) were exported to China and formed the basis for some of the most exquisite Chinese porcelain glazes.

This movement of materials and techniques through the Blue Road represents one of the earliest and most significant examples of global artistic hybridization, with Persian blue becoming central to Chinese imperial aesthetics, and later, returning westward to inspire regional styles.

Persia: Birthplace of the Blue Aesthetic

In Persian culture, blue symbolized:

• Divine light (nur)
• Water and sky (life-giving forces)
• Spiritual protection (warding off the evil eye)

This spiritual importance translated into tiles, manuscripts, glassware, and textiles. During the Mongol and Ilkhanid periods, Persian potters developed lajvardina (deep blue with gold overglaze) tiles used in palaces and shrines.

Persian fritware (stonepaste), developed by adding ground quartz and glass frit to clay, allowed artisans to produce white ceramic bodies that were ideal for showcasing deep cobalt blue and turquoise designs.

This innovation would become the technical foundation for blue pottery as it spread across Islamic lands.

South Asian Arrival: The Kashigari Tradition in Multan

The craft is believed to have entered Multan, the historic City of Saints, via early Islamic conquests and Sufi migrations.

• Local oral traditions suggest that artists accompanied Muhammad Bin Qasim during his conquest of Sindh in 712 AD and settled in Multan.

• According to Ustad Aalam, a modern master craftsman, his teacher Ustad Mian Allah Wassaya was a descendant of these early artisans.

• This lineage suggests that Multani Kashigari is over 1,300 years old, making it one of the oldest continuously practiced ceramic traditions in South Asia.

Archaeological Evidence: The Cunningham Discovery

In 1853, the British archaeologist Alexander Cunningham conducted excavations at Qillah Kohna Qasim Bagh, the ancient citadel of Multan. He discovered glazed ceramic tiles dating back to circa 900 AD, embedded in a mosque structure attributed to Muhammad Bin Qasim’s era.

• These tiles were identified as Multani glazed mosaic tiles, confirming the region’s early adoption of Persian-inspired blue pottery techniques.

• The find substantiated theories that Multan’s blue pottery not only had Persian roots but also pre-Islamic artistic influences, likely blending Indus Valley terracotta traditions with Islamic glazing technologies.

Evolution of a Distinctive Style

While the origins are Persian, the artistic vocabulary of Multani Kashigari developed its own regional identity over the centuries:

• Distinctive motifs: local flora, mango leaves, pomegranates, grapes (angoor bail), and sacred calligraphy
• Color emphasis: rich cobalt, muted turquoise, and occasional mustard or green
• Iconic applications: adorning mosques, shrines, tombs, palaces, and later vases, lamps, and tea sets

By the 12th century, Kashigari had spread from Multan into Nasirpur, Hala, and Sehwan Sharif in Sindh, creating a regional school of ceramic design known for its spiritual and architectural impact.

Kashigars: The Lineage Keepers

Multani Kashigari was traditionally passed down through oral transmission within artisan families, often starting at age five.

• The artisans, called Kashigars, preserved trade secrets like color mixing ratios, kiln temperatures, and brush techniques.

• Great masters like Ustad Allah Wassaya, Ustad Allah Diaya, Aziz Ahmad, and Mian Rahim Bux became legends, their works immortalized in religious architecture.

A Global Legacy

Today, Kashigari is recognized globally as:

• A cultural bridge between Persia, China, and the Indian subcontinent
• A testament to Muslim craftsmanship on the Silk Road
• A UNESCO-candidate craft admired in exhibitions from Hong Kong to the British Museum

Despite facing decline due to industrial ceramics, economic neglect, and lack of awareness, Kashigari remains a living, breathing link to a shared human heritage rooted in cobalt, clay, and craft.

Cultural Centers and Architecture!

The cities of Multan, Nasirpur, and Hala—along with the broader regions of southern Punjab and Sindh—emerged as the spiritual and artistic heartlands of Kashigari (Blue Pottery) in the Indian subcontinent. Over the centuries, this decorative art form became deeply entwined with religious devotion, architectural identity, and urban aesthetics, especially in Islamic South Asia.

Multan: The Epicenter of Blue Pottery Architecture

Multan, often referred to as the City of Saints, not only served as a Sufi stronghold but also as a crucible for evolving architectural aesthetics in Muslim South Asia. Its shrine-centric urban landscape provided a perfect canvas for the elevation of blue pottery from a craft to an architectural language.

Landmark Structures Featuring Blue Kashi Tiles:

1. Mausoleum of Shah Rukn-e-Alam (built c.1320–1324)

   • A UNESCO-nominated site, this is the most iconic example of Kashigari in South Asia.

   • Features massive domes and exteriors clad in blue-glazed tiles with floral and calligraphic ornamentation.

2. Shrine of Shah Yousaf Gardezi (built 1153 AD)

   • Among the earliest tiled monuments in Multan.

   • Famous for intricate geometric tile patterns and white calligraphy over cobalt backgrounds.

3. Shrine of Shah Shams Sabzwari

   • Known for its extensive turquoise and cobalt mosaics, arranged in stylized Islamic arabesques.

4. Shrine of Hazrat Bahauddin Zakariya

   • Embodies a combination of earthen red brick and blue-glazed tile panels that blend spiritual austerity with visual richness.

5. Ali Akbar and Shah Shams Tombs

   • Ornamented with high-relief motifs, engraved tiles, and sacred verses in Kufic and Naskh scripts.

These monuments not only served religious functions but also represented dynastic legitimacy, Sufi prestige, and urban identity. For centuries, Multani potters were commissioned by both royalty and spiritual orders to adorn these sacred spaces.

Sindh: The Artistic Continuum in Hala and Nasirpur

While Multan was the spiritual capital of Kashigari, Hala and Nasirpur in Sindh became renowned for technical excellence and stylistic evolution. These cities nurtured generations of Kashigars and developed distinct variations of design and execution.

Notable Architectural Sites:

1. Shrines of Uch Sharif (Cholistan Desert)

   • Home to multi-domed complexes lavishly decorated with blue and white glazed tiles, tracing back to 14th–16th century saints like Jalaluddin Surkh-Posh Bukhari.

   • Their architectural blueprints closely resemble Persian tombs, yet the Kashigari elements are distinctly indigenous.

2. Sawi Mosque (Multan)

   • Among the oldest surviving mosques in Multan to exhibit complete surface tilework using early blue-glazed mosaics.

   • Its walls are covered with intricate calligraphy and arabesque tile panels, many dating back to the Ghori period.

3. Talpur Tombs (Sindh)

   • These royal burial sites show a shift toward mass-produced but finely detailed glazed tiles in mustard and blue.

   • Many tombs feature nasal-style Quranic verses, a later decorative adaptation influenced by Mughal and Persian calligraphers.

4. Shrines of Sachal Sarmast and Abdul Latif (Bhitshah)

   • These shrines are sacred to Sindhi Sufi literature, and their visual expression through Kashi tilework reaffirms the fusion of poetry, spirituality, and ceramic art.

Artistic Motifs and Sacred Aesthetics

The visual grammar of these sites is dominated by:

• Floral vines (angoor bail) and Neem patti (margosa leaves)

• Eight-pointed stars, rosettes, and interlocking arabesques

• Calligraphic panels in Arabic and Persian, containing verses from the Qur’an, Sufi poetry, and dedications

• The heavy use of cobalt blue, often outlined in black and filled with turquoise, mustard, and white highlights

The blue-tiled architecture against the sandy, arid landscapes of Punjab and Sindh creates a striking contrast, giving these structures an almost celestial presence. The luminous blue domes symbolize divine ascension, while the repetitive motifs offer a meditative rhythm, echoing the Sufi ethos of unity and repetition.

Secular and Domestic Applications

Although Kashigari flourished in shrines and mosques, its influence extended into:

• City gates, havelis, and bazaar entrances in historic Multan and Hyderabad

• Private homes of nobility such as actor Sultan Rahi’s Lahore residence and politician Akhtar Abbas Bharwana’s Jhang estate

• Modern revivalist architecture by institutes like the Ustad Alam Institute and projects by Craft Galleria

Even today, artisans are commissioned to replicate or restore old Kashi tile panels in newly built mosques or heritage buildings, particularly in cultural hubs like Lahore, Islamabad, and Karachi.

Global Recognition of Architectural Kashigari

Kashi tiles from Multan and Sindh are now recognized in prestigious global institutions:

• British Museum (London)

• President’s House and Prime Minister’s Secretariat (Pakistan)

• Cultural missions in Europe, the Middle East, and the USA

Foreign delegations, including those from UNESCO, the World Bank, and SAARC, have studied and showcased Multani blue pottery architecture in international exhibitions. A notable example includes “The Blue Road: Mastercrafts from Persia”, held in Hong Kong, which indirectly spotlighted the lineage of Persian blue tilework that later evolved into Multani Kashigari.

Multan and Sindh are not merely geographical locations on a map—they are living museums where Kashigari has fused architecture, faith, and identity. The blue-tiled facades of tombs and mosques don’t just represent craftsmanship—they narrate a thousand years of cultural dialogue, spiritual devotion, and artistic innovation.

The enduring presence of these monuments, with their glowing blue motifs, ensures that Kashigari remains both timeless and sacred, a visual echo of divine artistry in clay and glaze.

Designs, Pigments, and Symbolism!

The visual language of Kashigari, or Blue Pottery, is not merely decorative—it is deeply embedded in Islamic philosophy, Persian symbolism, and South Asian visual storytelling. Every motif, brushstroke, and pigment carries a spiritual, cultural, or environmental meaning, developed over centuries of refinement and cross-cultural transmission.

Traditional Motifs and Patterns

Multani and Sindhi Kashigari features a rich repertoire of organic and geometric designs, many of which have remained unchanged for hundreds of years:

Botanical and Nature-Based Motifs:

• Angoor bail (grapevine): Represents fertility, abundance, and connection to the Prophet’s gardens (Jannah).

• Neem patti (neem leaves): Symbolizes healing, protection, and the sacred flora of the Indian subcontinent.

• Palm branches, pomegranate flowers, lotus buds: Drawn from both local agriculture and Sufi metaphors for spiritual growth and self-purification.

Geometric and Symmetrical Designs:

• Eight-pointed stars (khatam): Represent balance, cosmic order, and unity in diversity.

• Interlaced arabesques: Serve as visual metaphors for infinity and the unending nature of divine truth.

• Chevron borders and rosette medallions: Often frame the main floral elements, reflecting Mughal and Persian artistic influence.

Calligraphic Inscriptions:

• Quranic verses in Kufic or Naskh script, typically used on shrines and mosques.

• Persian poetry and Sufi couplets, especially in secular and architectural tiles.

• The act of calligraphy in Islamic art is considered an act of devotion. It elevates the written word into a sacred visual rhythm.

These elements are not traced from stencils but are drawn freehand by master artisans (naqash), whose skills are honed over decades and often passed through family lineages.

Pigments and Color Chemistry

Kashigari relies on a highly refined use of natural mineral-based pigments, most notably in the blue spectrum. These colors are not simply chosen for beauty but carry specific historical, spiritual, and cultural meanings.

Primary Colors:

1. Cobalt Blue:

   • Extracted from cobalt oxide, historically mined in Kashan, Iran, and exported via Basra to South Asia.

   • Dominant color in Multani tiles.

   • Associated with divine energy, tranquility, the sky, and eternity.

   • In Persian, the term sang-i-lajavard refers to the “blue stone,” linking cobalt with lapis lazuli.

2. Turquoise:

   • Created using copper oxide.

   • A cooling shade, it reflects the desert sky and holy waters in Islamic architecture.

   • Evokes sacred healing, and was believed to ward off evil spirits.

3. Mustard and Ochre:

   • Derived from natural iron oxides.

   • Used as highlights to contrast the dominant blues.

   • Represents earth, humility, and the balance of dunya (earthly life) with the celestial realm.

4. Brown and Purple:

   • Formed using a combination of iron and manganese oxides.

   • These secondary shades were used in background washes and floral detailing, giving depth and shading to designs.

5. White:

   • Usually the base layer, applied using a refined white engobe slip sourced from places like Sehwan Sharif.

   • It provides a “canvas” for all overglaze painting.

   • Symbolizes purity, divine illumination, and space for sacred text.

6. Black:

   • Used primarily for outlining calligraphy and geometric divisions.

   • Made from manganese or soot pigments, mixed with gum for brush control.

7. Gold (historically rare in Multani pottery but seen in Persian lajvardina ware):

   • Used in imperial commissions and high-end shrine restorations.

   • Symbolized royal patronage, divine radiance, and eternal light.

Symbolic Language of Color and Form

Colors and motifs in Islamic and Persian cultures often carry dual meanings—aesthetic and metaphysical:

Symbolism of Blue:

• Spiritual protection: Believed to repel the “evil eye” (nazar), especially in Persian, Turkish, and Sindhi folk beliefs.

• Divine connection: The blue sky symbolizes God’s vastness, while water represents mercy and purity.

• Peace and introspection: Often used in mihrabs (prayer niches) and domes to inspire a sense of calm during prayer.

Symbolism of Turquoise:

• Associated with Sufi mysticism, where the heart is likened to a turquoise dome—pure, light-filled, and open to divine truth.

Blue + Gold:

• Imperial majesty: Seen in Persian palace tilework and manuscripts.

• This contrast represents the coexistence of heaven (blue) and earthly power (gold).

Geometric Harmony:

• Mathematical precision in tile patterns reflects the oneness of God (Tawhid).

• Repetition of forms mirrors dhikr (remembrance of God)—a key spiritual practice in Sufism.

Modern Adaptations and Stylistic Innovations

With the decline of traditional patronage, artisans and design institutes have begun blending ancient motifs with modern forms, introducing:

• Minimalist geometric tiles for homes and offices

• Designer tableware with Sufi quotes and Mughal floral compositions

• Contemporary color palettes, including neon pinks, metallics, and pastels, especially for export to Europe and the Middle East

Institutions like Craft Galleria and Ustad Alam Institute now work with designers to merge tradition with functionality, giving new life to vases, cups, lamps, and even corporate décor items using classic Kashigari symbolism.

Every Kashigari design is a sacred dialogue between form, faith, and function. The interplay of brushwork, pigment chemistry, and symbolic geometry makes Multani blue pottery not just a craft—but a living manuscript of cultural memory. In each glaze lies the sky, in each motif the garden of paradise, and in every finished tile—the enduring fingerprint of Islamic, Persian, and South Asian artistic heritage.

Materials and Tools!

The excellence of Kashigari or Blue Pottery lies not only in its artistry but also in the materials and tools used—most of which are locally sourced, manually crafted, and infused with centuries-old knowledge. From the soil beneath artisans’ feet to the goat hair in their handmade brushes, every component of the craft is tied to regional heritage, ecological adaptation, and practical ingenuity.

Clay: The Foundation of Kashigari

Clay is the primary material in blue pottery, and its quality, source, and preparation determine the final strength and texture of the pottery piece.

Traditional Clay Sources:

Historically, clay was collected from river basins and canal beds, especially around the:

• Indus River
• Multan River
• Old riverbeds in Nasirpur and Sehwan Sharif

These natural sources provided soft, mineral-rich deposits ideal for pottery, with natural elasticity and thermal resilience.

Modern Clay Procurement:

Due to pollution and depletion of riverine clay sources, potters now rely on mountain and sub-soil clay, sourced from:

• Mansehra (Khyber Pakhtunkhwa)
• Tharparkar (Sindh desert region)
• Gujrat (Punjab)
• Peshawar (for red terracotta-type clay)

Clay Composition and Processing:

• Red clay (terracotta): Harder, rich in iron oxide, used for structural strength

• White clay: Softer, used for coating and slip layers

Potters combine red and white clay in various ratios (typically 50:50) to achieve a balance between hardness and workability.

Local Terminology:

• Khishka: Finely sieved, refined clay used after mesh screening
• Garha: Traditional clay measuring pot; used to balance water-to-clay ratios

Before use, clay is:

• Crushed and pounded with wooden hammers to remove lumps
• Passed through a mesh sieve (channa) to refine texture
• Rested overnight after adding 3–4 parts water to every pot of clay
• Stored in pits or covered tubs to retain moisture and flexibility

This natural fermentation softens the clay, enhances binding, and prevents cracking during drying or firing.

Pigments: Earth Minerals Transformed into Divine Color

The distinctive brilliance of Kashigari comes from natural oxide pigments, many of which have historical trade and cultural importance.

Primary Colorants:

1. Cobalt Oxide (Blue)

   • Mined in Kashan (Iran) and Persia’s northwest

   • Exported historically via Basra for use in Middle Eastern and South Asian ceramics

   • Produces a deep, luminous cobalt blue—the signature of Multani Kashigari

2. Copper Oxide (Turquoise/Green)

   • Locally available in Baluchistan and Sindh

   • Yields cool turquoise, sometimes green depending on glaze composition and firing

3. Iron Oxide (Brown, Mustard, Ochre)

   • Provides earthy tones, used for detailing and balancing color palettes

4. Manganese Oxide (Black and Purple)

   • Used in calligraphy outlining and border work

5. Sunehri (Golden river sand) and Sutlej paste:

   • Sunehri: Sand from Indus riverbanks; adds texture to decorative mixtures

   • Sutlej paste: Finely ground sand mixed with water into a golden slurry, used for surface embellishment and painting relief

6. White Slip (Engobe Layer)

   • Made from purified white clay, often sourced from Sehwan Sharif

   • Applied as a base coat before decoration

   • Strained through thin muslin and mixed with water for a milky consistency

   • Creates a bright contrast to painted pigments and enhances glaze absorption

7. Edible Gum (Gond)

   • Added to oxide powders to bind the pigment to the clay surface

   • Ensures smooth brush flow and consistency during painting

Brushes: The Artisans’ Handcrafted Tool

Despite the availability of commercial brushes today, traditional Kashigars continue to make their own, often with inventive materials and centuries-old methods.

Construction and Materials:

• Brush Tips: Made from:

  • Goat hair: Flexible, holds pigment well

  • Squirrel tail hair: For finer detailing and outlining

  • Cotton fibers: Used occasionally for large fills

• Handle (qalam):

  • Thin bamboo sticks, wooden dowels, or even date palm twigs

  • Tied and secured with thread or natural adhesive

• Brush Types:

  • Round-tip brushes: Used for floral and leaf detailing

  • Flat brushes: For filling larger spaces or base layers

  • Line qalam: Precision tool for calligraphy and outlining

In earlier times, artisans would often raise goats or squirrels or source from local traders to get the right hair type. These brushes became personal tools, cared for and reused across hundreds of tiles.

Today, while some potters buy commercial synthetic brushes, many still prefer their handmade tools, claiming that commercial alternatives lack control, soul, and flexibility for traditional Kashigari styles.

Other Essential Tools and Materials

• Wooden mallet (used for flattening slabs): Known as a terra-cotta mallet, it compresses and shapes leather-hard tiles.
• Patti (metal scraper): Used for scraping off excess material and leveling tile edges
• Channa (mesh sieve frame): Essential for refining clay texture
• Regmaal (sandpaper): For polishing the dried clay surface
• POP molds (Plaster of Paris): Shaped to form vases, dishes, or relief tiles
• Burnishing stones: Occasionally used to smooth unglazed surfaces before painting

Craft Knowledge as a Tool

In addition to physical tools, Kashigars rely heavily on generational knowledge, including:

• Kiln temperature control by sight and smell
• Color predictions after firing based on oxide layering
• Moisture judgment by touch during shaping and drying

This intuitive expertise, passed orally and through apprenticeship, is a non-material tool—arguably the most essential.

From clay beds of the Indus to hand-spun brushes soaked in cobalt oxide, the tools and materials of Kashigari are not merely functional—they are cultural heirlooms. Each brush carries a lineage. Each lump of clay is molded with ancestral touch. Together, these humble elements enable the creation of an art form that has shaped shrines, inspired awe, and endured for over a millennium.

Making Process: Step-by-Step Summary!

The creation of Kashigari blue pottery is a meticulous, spiritual, and labor-intensive craft, often taking 15 to 20 days per piece. While modern factories can replicate ceramic looks using machines, true Kashigari remains a handmade legacy, passed down through generations, involving over 20 traditional stages—each requiring patience, intuition, and skill.

A. Preparation: The Ritual of Clay Making

The process begins with the selection and refinement of clay, the “soul” of the pottery.

Clay Preparation:

• Clay is brought from riverbeds, mountains, or rural clay pits on donkey carts or small trucks.
• The artisan breaks it down using a wooden hammer, removing pebbles and air pockets.
• It is then sifted using a channa (wire mesh sieve on a wooden frame) to achieve a fine, lump-free texture known locally as khishka.

Water Mixing:

• The ratio is traditionally 1:3 or 1:4—one garha (pot) of clay to three or four garha of water.
• Mixed in open pits or clay tubs, then left to rest overnight, allowing natural fermentation to soften it.

Mould-Making:

• Moulds are made from Plaster of Paris (POP).
• Artisans often build multiple part-moulds (2–4 pieces) for complex items like vases, combining wheel-turned and molded sections.

Dough Kneading:

• Once rested, the dough is kneaded thoroughly by foot or hand to remove air bubbles and create a non-sticky, malleable mass.
• This stage determines the workability and durability of the final product.

B. Shaping and Moulding: Bringing Form to Life

This stage involves forming basic shapes using traditional techniques:

Hand-Shaping and Wheel Work:

• Artisans form clay into chapatti-shaped slabs using wooden paddles or palms.
• These are placed in the mold and gently pressed to take its shape.
• Complex vessels (e.g., kendi or vases) are partially wheel-thrown and then assembled with hand-moulded components.

Filling with Raakh:

After shaping, molds are filled with raakh (burnt wood dust or ash), which:

• Prevents sticking
• Helps hold fine details
• Aids in even drying

Drying Phase:

• The clay remains in the mold for 24–48 hours, depending on humidity.
• Once removed, it is placed in a shaded area (not direct sun) to dry further.

C. Finishing: Sculpting and Surface Perfection

This phase transforms the rough form into a canvas ready for art.

Scrubbing and Trimming:

• After the piece is leather-hard, it’s inverted and raakh is removed.
• Walls are trimmed using a patti (iron knife) to ensure uniform thickness.

Surface Polishing:

• The entire surface is wet-scrubbed to smooth any bumps or imperfections.
• Artisans use regmaal (sandpaper) or burnishing stones for a soft, matte finish.
• A second layer of thin clay slurry is applied to fill micro pores, followed by more polishing.

Base Attachment (For Vessels):

• Items like cups, jars, and vases have their bases attached on the potter’s wheel using fresh dough.
• Seam lines are smoothed to ensure visual continuity and structural integrity.

D. Design and Painting: The Artistic Soul of Kashigari

This is where artisans become true artists—combining geometry, poetry, and color.

Surface Coating:

• A white engobe (fine white clay slip) is brushed or dipped onto the item.
• This acts as a blank canvas, enhancing the visibility of pigments.

Tracing and Sketching:

• Some artisans use perforated tracing paper with charcoal for pattern transfer.
• Most master artisans draw directly by hand, guided by memory and inherited patterns.

Color Mixing:

• Natural oxide pigments are ground with edible gum (gond) to form pastes.
• Each color has a unique behavior during firing, which the artisan learns by experience.

Painting Techniques:

• Outlines are always painted first—cobalt oxide is the traditional choice for this.
• Designs include floral vines, Islamic calligraphy, geometric borders, and Sufi poetry.
• Brushes are handmade from goat or squirrel hair, offering unique fluidity and control.

Sgraffito (Optional):

Some pieces are carved with fine tools after painting, exposing red clay underneath for decorative contrast.

E. Glazing and Firing: The Final Alchemy

This is where the piece transforms from clay into ceramic, pigment into jewel tone.

Glazing:

A transparent glaze slurry is prepared using:

• Borax
• Red lead
• Quartz
• Silica
• Powdered glass (frit)

The glaze is either:

• Sprayed onto the tile or pot
• Or dipped carefully for full-body pieces

Thickness: ~1mm is ideal for even gloss without over-melting.

Firing:

• Two types of kilns are used:

  • Traditional wood-fired kilns made of mud brick (temperature range: 850–1000°C)

  • Gas-powered kilns (more temperature control, faster cooling)

• A standard firing lasts 12–14 hours, consuming up to 2000 kg of kari wood (a hard black wood).

• Kilns are cooled naturally over 2–3 days to prevent cracks or glaze flaws.

Post-Firing:

Finished tiles or pots are inspected by tapping—a clear bell-like ring confirms success.

Pieces with imperfect glaze or cracks are sorted as seconds or used for architectural fragments.

Additional Stages (Modern Practices):

Some modern studios (like HMB Pottery, Ustad Alam Institute) have introduced:

• UV-drying units for faster drying
• Electric wheels for bulk shaping
• Digital design transfers (though most artisans still favor handwork)

The making of Multani and Sindhi Blue Pottery is more than just a production process—it’s a symphony of earth, water, fire, and human memory. Each step—whether it’s molding a vase, painting a floral pattern, or opening a kiln—is rooted in centuries of practice, spiritual symbolism, and regional pride. In a world of fast, factory-made ceramics, the slow, deliberate rhythm of Kashigari remains a powerful reminder that beauty takes time—and meaning comes from touch.

Master Artisans and Lineages!

The continuity of Multani Kashigari—the intricate, spiritual art of blue-glazed tile and pottery—owes everything to the custodians of tradition: its ustads (master craftsmen). These artisans have preserved not only the craft but also its oral heritage, secret recipes, and visual vocabulary, handed down through unbroken chains of apprenticeship spanning over a thousand years.

A. The Origins: From Conquest to Craft

According to oral traditions and accounts from artists themselves, the origin of blue pottery in Multan is deeply tied to the arrival of Muhammad Bin Qasim in 712 AD. Among his caravan were Persian and Central Asian craftsmen, experts in Kashigari (from “Kashan” in Persia and “Kashgar” in China), who introduced the technique of blue-glazed ceramics to the Indian subcontinent.

These early “Kashigars”—as they were called—were highly skilled in Persian-Islamic design, including:

• Calligraphy in Arabic and Persian

• Botanical motifs

• Arabesques and geometric tessellations

They settled in Multan and passed their knowledge to select local families, creating the foundations of what would become Multani Blue Pottery.

B. Hereditary Lineages: The Chains of Transmission

The art form has never relied on books. Instead, it has been preserved through:

• Apprenticeships within family units

• Oral tradition of color recipes and brush techniques

• Guarded knowledge about clay preparation and firing

Legendary Lineages Include:

Ustad Alam’s institute, based in Multan, continues to train students from Pakistan, Afghanistan, and Central Asia, bridging traditional art with modern application.

C. Training the Next Generation

Traditional master-apprentice setups were:

• 3 to 5 years long

• Involved non-stop observation and practice

• Students learned everything from clay kneading to color theory, before touching a brush

Ustad Muhammad Alam once said:

“This art is not taught with words. It is absorbed through the hands, the ears, and the patience of your soul.”

Many current artisans—working in Lahore, Multan, Hala, and even Karachi—can trace their artistic lineage back to these few pioneering families.

D. Institutional Recognition & Preservation

To prevent the extinction of Kashigari, the Punjab Small Industries Corporation (PSIC) established the Institute of Blue Pottery Development in 1985. Its mission:

• Provide technical training

• Document traditional designs (over 400 documented)

• Facilitate commercial adaptation of Kashigari items (lamps, jars, tableware)

Notable supporters and patrons include:

• World Bank, which visited and praised the institute

• British Museum and Lahore Museum, showcasing work by Multani masters

• Presidential House and Prime Minister Secretariat, which feature handcrafted tiles

E. Modern Outreach and Global Impact

Today, Multani blue pottery is:

• Collected by foreign dignitaries and tourists

• Displayed in UK, USA, UAE, and European museums

• Commissioned for modern home decor (vases, lamps, planters) using ancient methods

Despite its global recognition, many local masters remain underappreciated within Pakistan. As Hassan Khan, a shopkeeper in Multan’s Ghanta Ghar Bazaar put it:

“A tea set that costs Rs. 1200 finds no local buyers—but gets exported to Germany.”

The story of Multani Kashigari is not just about pottery—it’s about people, legacy, resilience, and the profound bond between teacher and student. From Ustad Mian Allah Wassaya to Ustad Muhammad Alam, each name carries the weight of centuries, and each brushstroke holds a cultural inheritance.

Without these artisans and their protected lineages, blue pottery would have vanished in the tides of mechanization. But because of them, the art not only survives—it speaks, sings, and glows cobalt blue across continents.

Institutions and Preservation!

The survival and flourishing of Multani blue pottery in the modern era is not solely the result of ancestral knowledge—it also owes much to formal institutions, governmental intervention, and NGO-driven initiatives that have collectively worked to rescue this ancient art from near extinction.

A. The Foundational Step: 1985 Revival Initiative

In 1985, recognizing the rapid decline in interest and training among younger generations, the Punjab Small Industries Corporation (PSIC) took a revolutionary step by establishing the Institute of Blue Pottery Development in Multan.

Purpose:

• To preserve the dying art of Kashigari

• Provide technical support and financial backing to struggling artisans

• Bridge heritage craftsmanship with modern commercial needs

Achievements:

Trained hundreds of artisans, especially from underprivileged and rural backgrounds

Documented and recreated 400+ traditional motifs, including:

• Full Bhrai
• Bamboo Shoot
• Antique Motifs
• Neem Patti

Introduced modern shapes and decor styles (e.g. table lamps, dinnerware, wall tiles)

Helped in establishing independent ceramic units across Multan through:

• Material subsidies
• Design consultations
• Market linkage facilitation

B. Crafting Continuity: NGO and Private Sector Roles

Alongside PSIC, a number of non-governmental organizations and private enterprises have emerged to infuse new energy and relevance into this centuries-old art.

PODA (Potohar Organization for Development Advocacy):

• Works primarily with women artisans in rural Multan
• Offers skill development programs in tile painting and ceramic forming
• Hosts community exhibitions, building local pride in traditional Kashigari
• Helps artisans connect with urban and international buyers

Craft Galleria:

A private social enterprise pioneering the blending of heritage designs with modern aesthetics

Works with over 50 artisans, many of whom are descendants of historic Kashigars

Has developed a product line ranging from:

• Wall murals
• Statement planters
• Contemporary crockery

Runs educational workshops in government and private schools to spark interest in ceramic arts among children

Artisans Galleria & The School Multan Project:

Sponsored large-scale training initiatives

Installed monumental Kashigari walls and installations in urban architecture

Trained students in:

• Pigment preparation
• Mosaic compositions
• Traditional brushwork

C. Global Recognition and Cultural Preservation

International recognition has played a powerful role in reinforcing institutional efforts.

• British Museum (London) and President House (Pakistan) now feature Multani blue pottery installations.

• The World Bank has surveyed the Institute’s success as part of its cultural heritage support missions.

• UNESCO has encouraged documentation of Kashigari under its intangible cultural heritage framework.

• Exhibitions such as “The Blue Road” in Hong Kong have traced the lineage of blue ceramics from Persia to China to Multan, elevating the global status of Multani blue pottery.

D. Education and Apprenticeship Programs

Modern institutions like the Ustad Alam Training Institute and the PSIC Blue Pottery Lab are building formal pathways for younger artisans through:

• Certificate programs in ceramic chemistry
• Apprenticeships with national award-winning artists
• Digital design integration for pattern reproduction

These efforts not only preserve cultural integrity but also open economic doors for artisans who otherwise face poverty and obscurity.

E. Looking Forward: Challenges and Opportunities

While institutions have made incredible strides, many challenges remain:

• Lack of local demand despite international interest
• Financial instability for artists
• Need for design innovation to meet contemporary market trends

However, the combined efforts of public institutions, passionate NGOs, and master artisans have created a revival ecosystem that is steadily strengthening.

As Ustad Muhammad Alam once said:

“We have preserved a river of knowledge. Now, we must build the bridges so others may cross it into the future.”

Challenges Facing the Craft!

While Multani Kashigari or blue pottery has gained global appreciation for its historical value and aesthetic elegance, the craft today stands at a precarious crossroads. Despite centuries of cultural inheritance and international demand, its practitioners continue to struggle against systemic, economic, and infrastructural challenges.

A. Lack of Local Buyers & Market Disconnect

Although prized internationally, domestic appreciation for blue pottery remains low. The Pakistani middle class—often the main driver of artisanal markets—generally perceives Kashigari as a decorative luxury rather than a functional necessity. This leads to:

• Low retail turnover in urban markets like Lahore, Karachi, and Islamabad.

• Struggles for artisans to sell tea sets or décor even at basic prices (e.g., PKR 1,200 for a full set).

• A gap between production cost and consumer value perception.

• Local exhibition sales failing to match even minimal sustenance targets for many craftsmen.

❝ “Foreign tourists love our vases, but our neighbors walk by without a glance,” — a Multan-based artisan lamented.

B. Exploitation by Middlemen & Lack of Direct Market Access

Most Kashigars are financially dependent on middlemen (thekedars) who:

• Control raw material supplies

• Pre-order goods at exploitive rates

• Pocket large commissions on sales to galleries or international buyers

The artisans, with no retail or e-commerce infrastructure of their own, are often forced to:

• Sell products at half the market value

• Accept delayed or partial payments

• Sign informal verbal contracts with no legal protections

In essence, the ones who carry forward this centuries-old art are frequently trapped in cycles of debt and dependency.

C. Manual Labor & Lack of Technological Advancement

Despite advances in ceramic technology globally, many Multani workshops:

• Still rely on hand-thrown pottery wheels instead of electric or kick wheels

• Use wood-fired or dung-fired kilns, leading to:

  • Inconsistent heating

  • High breakage rates

  • Longer firing cycles

Moreover, the lack of digital design tools prevents scaling up or replicating patterns for modern export.

Even power outages (common in Multan) disrupt:

• Firing schedules

• Glazing precision

• Workshop lighting and ventilation

These challenges, in turn, affect the artisans’ ability to take bulk orders or meet tight export timelines.

D. Low Financial Returns for High Manual Effort

Kashigari is labor-intensive, involving:

• 7–12 distinct steps from clay preparation to final firing

• Drying times of up to 7 days, depending on weather

• Fine hand-painting requiring extreme precision and artistic memory

Yet, the financial return often barely crosses subsistence levels:

• Daily earnings range between PKR 300–800 (≈ $1–$3)

• Many artisans moonlight as daily wage laborers or run small side businesses

• Without patronage, most are unable to educate their children, let alone reinvest in equipment

E. Intergenerational Disinterest & Artistic Drain

Due to the unrewarding nature of the profession, most artisans discourage their children from continuing the family trade. The youth are drawn toward:

• Better-paying factory jobs

• Urban migration

• Gig economy work (like food delivery or retail)

This leads to an alarming knowledge drain, where:

• Complex brush techniques

• Historic glaze formulas

• Sacred iconography styles

… are being lost without any formal documentation or apprenticeships in place.

“The art will die not because it is forgotten, but because no one can afford to remember it,” — artisan Muhammad Irfan

F. Inadequate Policy Support and Lack of Export Strategy

While the government has launched sporadic support programs, artisans still lack:

• A structured export model for Kashigari items

• Tax exemptions on raw materials and kiln fuels

• Consistent representation in international craft fairs

• Public procurement policies (e.g., blue pottery in government offices and institutions)

This absence of a cohesive roadmap undermines scalability, profitability, and visibility in both local and global markets.

G. Potential Displacement by Machine-Made Ceramics

The rise of machine-printed ceramics from China, Turkey, and even local mass producers is rapidly encroaching on the market. These products:

• Mimic traditional Multani patterns

• Are cheaper and more uniform

• Flood urban décor shops and online marketplaces

This commodification of tradition further reduces the value of handmade authenticity in the eyes of price-sensitive buyers.

In summary, while Multani Kashigari remains one of Pakistan’s most iconic art forms, it is vulnerable to economic marginalization, technological lag, and generational amnesia. Without structured market integration, technological support, and cultural education, the very soul of this historic craft risks fading into oblivion.

Global Reach and Recognition!

Multani blue pottery, or Kashigari, is not just an ancient craft rooted in South Asian soil—it has become a global symbol of artistic refinement, cross-cultural synthesis, and heritage continuity. Its glowing cobalt hues, meticulous hand-painting, and mystical Persian-Islamic motifs have traveled far beyond the alleys of Multan, reaching galleries, museums, and diplomatic halls around the world.

A. Showcased in World-Class Institutions

Multani Kashi work has earned a coveted place in some of the world’s most prestigious cultural and governmental venues, such as:

• The British Museum (London) – Home to centuries-old glazed tile panels and vases representing Indo-Islamic heritage.
• Victoria & Albert Museum – Featuring Persian-influenced Islamic ceramics, some attributed to South Asian artisans.
• President of Pakistan’s House & Prime Minister Secretariat – Decorated with commissioned blue tile murals and tableware.
• Pakistan’s Cultural Missions Abroad – Use blue pottery for decor, gifting, and showcasing Pakistani identity.
• World Bank & UNESCO Events – Displayed as part of South Asia heritage projects and artisan exhibitions.
• Mosques and Islamic Centers in the USA, UK, and Middle East – Incorporate imported Multani tiles in mihrabs, minarets, and wall art.

B. Exported Globally: Popular Among Collectors & Tourists

With a growing diaspora and interest in Islamic arts, blue pottery from Multan is now a souvenir of choice and a collector’s favorite across continents. Key markets include:

• 🇬🇧 United Kingdom
• 🇺🇸 United States
• 🇦🇺 Australia
• 🇸🇦 Saudi Arabia
• 🇦🇪 UAE
• 🇩🇪 Germany
• 🇫🇷 France

Artisans and exporters report that tourists frequently seek out:

• Tea sets
• Flower vases
• Table lamps
• Soup bowls and serving dishes
• Pickle jars and spice containers
• Mosaic tiles for home decor and shrines

These items are hand-packed and shipped globally, often labeled as:

• “Handmade Islamic Ceramics”
• “Multani Blue Pottery”
• “Persian-Style Kashan Tiles from Pakistan”

C. Iconic Patterns That Have Become International Signatures

Each item exported is not only functional but carries centuries of aesthetic history. Some signature styles in global demand include:

D. Corporate & Diplomatic Gifting

Kashigari products are increasingly chosen by:

• Pakistani embassies as diplomatic gifts
• Corporate delegations during MoU signings or state visits
• Boutique luxury brands as part of limited-edition artisanal collaborations

An example includes:

“When the Pakistani trade delegation visited Paris, we gifted hand-painted Kashi vases with Quranic calligraphy—it was the most photographed item of the ceremony,” — Commerce Ministry Official

E. Used in International Homes and Architecture

Beyond shelves and gift boxes, Kashi tiles are:

• Installed in modern luxury homes (especially in UAE, Canada, and UK)
• Used in kitchen backsplashes, fireplace borders, bathroom walls
• Fitted as architectural highlights in Mediterranean-style villas

Global interior designers often combine Kashigari with:

• Neutral marble finishes
• Antique bronze lighting
• Rustic wood furniture

This results in a fusion of East and West, with Multani art as the centerpiece.

F. Sold Online by Global and Local Platforms

Blue pottery products are increasingly visible on:

• Amazon Handmade
• Etsy
• Craft Galleria Pakistan
• HMB Pottery
• Local e-commerce platforms like Daraz and OLX

Some exporters now:

• Use custom QR codes linking to artisan bios
• Add “Fair Trade Certified” tags
• Ship with informational booklets explaining the historical significance

In short, Multani Blue Pottery is no longer just a traditional craft—it is a global cultural ambassador. Each glazed petal and every cobalt curve on these masterpieces whispers the story of ancient trade, Islamic aesthetics, and Pakistan’s creative soul.

Final Thoughts on The Legacy of Blue Pottery!

Multani Blue Pottery, or Kashigari, is not merely a decorative art—it’s a living, breathing cultural manuscript, glazed into permanence by the hands of master artisans who have passed their knowledge from generation to generation, often without written records. This art form, born from the meeting of Persian elegance, Central Asian symbolism, and South Asian spirituality, tells a story not just of craft, but of civilization, identity, and enduring aesthetic values.

Each brushstroke in cobalt blue, each mosaic tile pressed into a shrine wall, is a vessel of history—from the domes of Safavid Persia to the mosques of medieval Multan, and from the Silk Road’s trading caravans to the gallery shelves of global museums.

A Legacy Written in Earth and Fire

• Kashigari is ancestral memory: encoded in motifs of foliage, arabesques, Quranic calligraphy, and geometric balance.
• It is survival through art: enduring Mongol invasions, colonial neglect, and post-independence industrialization.
• It is rooted in ritual and place: created with sacred clays, fired in sacred heat, and placed in sacred spaces.

Yet for all its soul and brilliance, this art now stands at a critical crossroads.

A Craft Under Threat

Despite its beauty and historic importance, Multani blue pottery is facing existential challenges, such as:

• Economic Instability: Artisans often work below minimum wage, unable to compete with mass-produced ceramics.
• Lack of State Support: Despite government institutes, funding is inconsistent, and there’s little national marketing.
• Loss of Lineage: Younger generations are moving away from the craft due to low income, lack of recognition, and digital distractions.
• Global Market Disconnection: Most artisans lack access to e-commerce, design innovation, and foreign markets.
• Gap in Design Education: Few design schools formally teach traditional crafts or hybrid innovation in Kashigari.
• Urbanization and Industrialization: Workshops are vanishing due to gentrification and commercial real estate development.

Without urgent support, this sacred heritage risks fading into a forgotten past—not because it failed in quality, but because it was failed by policy and patronage.

The Future is Possible: Revival Through Recognition

The revitalization of Multani Kashigari isn’t just possible—it’s essential for cultural continuity, tourism, and creative economy. Here’s how:

1. Policy-Level Action

• Declare Kashigari as a National Heritage Craft with protected status.
• Create subsidies for raw materials and export logistics.
• Include Kashigari in school curriculums and cultural festivals.

2. Global Cultural Collaboration

• Partner with UNESCO, ICH, and World Crafts Council for international exhibitions.
• Develop artisan exchange programs with Iran, Turkey, India, and Central Asia.

3. Digital and Commercial Empowerment

• Train artisans in e-commerce, packaging, branding, and pricing.
• Launch official blue pottery marketplaces on Amazon Handmade, Etsy, and Shopify.
• Link artisans with interior designers, architects, and hotels worldwide.

4. Innovation With Tradition

• Encourage fusion styles: traditional motifs on contemporary forms like pendant lights, tiles for modern architecture, or wearable art.
• Offer design residencies and fellowships in Multan to attract young talent.

A Legacy Worth Protecting

Imagine a future where:

• A blue tile from Multan gleams under a Manhattan skyline.
• A handcrafted vase decorates a Parisian café.
• An artisan’s name from Multan is mentioned in TED Talks on cultural preservation.

This is not just fantasy—this is potential.

Because Multani blue pottery is not dying.
It’s waiting. Waiting to be rediscovered. Reinvested. Reimagined.

And if we act now, we will not just preserve a craft—we will ignite a global renaissance of identity, story, and art in its purest, bluest form.