Table of Contents

Executive Summary .......................................................................................................................... 3

The Art of Camel Skin Lamps in Multan: A Cultural Heritage ............................................... 4
The Role of Ustad Abdullah Naqash (1890–1952) .......................................................... 6
Malik Aashiq Naqqash (1930–2000) .............................................................................. 7
Malik Abdur Rehman ..................................................................................................... 7
Malik Aashiq Naqqash Junior......................................................................................... 7
From Bone to Beauty: The Legacy of Camel Bone Craft ..................................................... 11
Online shop of Ustaad Abdul Rasheed Quershi and his son Zeeshan Rasheed .............. 13
The Intricate Beauty of Okair sazi in Multani Heritage ........................................................ 15
Multani Khussa: A Traditional Pakistani Footwear .............................................................. 18
3.Ustaad Manzoor Hussain – Master Khussa Artisan of Multan.................................... 19
Achievements and Recognitions ...................................................................................... 20
Saraiki Ajrak: A Symbol of Culture, Identity, and Artistry ................................................... 23
Ajrak blocks ................................................................................................................. 24
3.Waheed Subhani – Traditional Block Printing Artisan ............................................... 24
Multani Embroidery: A Living Tradition ............................................................................. 28
Kacha Tanka style ............................................................................................................ 28
Zari/Adda Work ............................................................................................................... 28
Gotta Kinari Work ........................................................................................................... 29
References .......................................................................................................................... 32
 Executive Summary
This report provides a detailed insight into the diverse and vibrant art and craft traditions of
Multan, compiled as part of our internship at the Tourism Development Corporation, Multan.
It explores the unique cultural expressions found in crafts such as camel skin lamps, known
for their vivid colors and delicate handwork; camel bone crafts, a sustainable form of artisan
jewelry and decor; and Multani khussa, the iconic handcrafted footwear renowned for its
embroidery and craftsmanship. Additionally, the report highlights Saraiki Ajrak and block
printing, reflecting the regional identity through natural dyes and traditional motifs; Multani
embroidery, famous for its colorful threadwork and mirror embellishments; and Okair sazi,
a traditional woodcraft showcasing intricate carving and painting. Each of these crafts reflects
the rich heritage, creativity, and skill of local artisans. Notably, due to its historical significance
and technical depth, Blue Pottery of Multan has been covered in a separate, extensive report
to do justice to its unique legacy and contribution to the city’s cultural landscape. This project
aims to support the preservation and promotion of Multani crafts as valuable assets for cultural
tourism and community development.
The Art of Camel Skin Lamps in Multan: A Cultural Heritage
1.Introduction
Camel lamps are a small piece of desert crafted from dried camel skin in deserts of Cholistan
and Multan and then painted over to create a unique craft not found anywhere else in the world.
Light pierces through the porous camel skin to create shadows of the desert night.

Camel skin lamps are a revered traditional craft in Multan, Pakistan, known for their intricate
designs and natural beauty. This craft has been passed down through generations, with artisans
refining their skills and techniques over time. The significance of camel skin lamps extends
beyond their aesthetic value, representing the cultural heritage and artistic traditions of Multan.

2.Documentary on How Camel Skin turned into decorative lamps in

Pakistan
(Featuring Malik Abdur Rehman Naqash) by Business Insider (2002)
Multan is known for its handicraft including those prepared by camel skin.
Colourful paintings and ‘Naqashi’ add to the worth of the products like
lamp and other decorative items.

Malik Abdul Rehman Naqash, whose family has been involved in the art
for nine centuries, says three types of craftsmen -- Naqash, clayman and
Dabgar -- play their role in making a product.

“A Naqash designs the product and delivers it to clayman who moulds the
clay according to the required design and sends it to Dabgar who does the
job of removing hair and flesh from the camel skin and making a number
of skin layers after cleaning it. He wraps the wet skin onto the clay mould
and the joints in the skin naturally mix with one another after being dried
for two days,” he explains.

To take the mould out of the skin, it is hit with a stick and thus mould breaks and falls out while
leaving dried camel skin item in perfect shape. “Then the Dabgar once again hands over camel
skin item to a Naqash for work,” he says.
He says camel skin product can be used for 50 to 100 years as it requires varnish or lacquer.
For centuries Kuppa (container) made of camel skin is being used for containing oil and ghee,
he says.

He recalls his grandfather, Ustad Abdullah Naqash, made first camel skin lamp in 1910 and
clayman Ustad Hayat Muhammad made first mould of the lamp that gave a new life and spirit
to the camel skin art as well as Naqashi.

After Abdullah Naqash, his son Ashiq Naqash gave new touches to the art of his forefathers by
working on pots, articles of wood like furniture, doors, cots, jewelry boxes and stands besides
walls and roofs of famous buildings, says Abdul Rehman.

He says Ashiq Naqash designed an exercise book for Naqashi and demands that the government
help him publish it for future generations.

“I learnt this art from my father and now I am conducting workshops on camel skin craft across
the world including India, the USA and Germany,” he says.
He says his father had hundreds of students but now the art is dying because of the tourism
industry downfall.

He also urges the authorities concerned to arrange workshops at schools, colleges and
universities for the promotion of crafts.

Artisans in Multan, Pakistan, are famous for making camel-skin lamps using a naqashi painting
technique that goes back 900 years. In 1910, Ustad Abdullah Naqash started doing naqashi art
on camel skin. Today, his grandson, Malik Abdul Rehman Naqash, is keeping the tradition
going.

3. History and Origins of Camel Skin Lamps

Multan, a city renowned for its rich artistic heritage, is home to the
exquisite craft of camel skin lamp decoration. The camel skin lamp craft
in Multan dates back to the early 20th century, pioneered by Ustad
Abdullah Naqash. He introduced the Naqashi painting technique to
decorate camel skin, transforming it into a unique art form. Over time,
this craft evolved, with artisans experimenting with new designs and
techniques. His innovative application of the Naqashi painting technique
to camel skin earned Multan global recognition and cemented its
reputation as a hub for this unique craft.

4.Notable Artisans and Recognition in Camel Skin Lamp Craft

The Role of Ustad Abdullah Naqash (1890–1952)
Ustad Abdullah Naqash played a pivotal role in developing the camel skin lamp craft. His
innovative approach to decorating camel skin with intricate designs and patterns set the
foundation for the craft's growth and popularity. The Naqashi technique, passed down through
generations, is a testament to the city's cultural legacy. Malik Abdul Rehman Naqash, a
descendant of Ustad Abdullah, continues to preserve and promote this art form, ensuring its
survival and evolution. Ustad Abdullah Naqash, made first camel skin lamp in 1910 and
clayman Ustad Hayat Muhammad made first mould of the lamp that gave a new life and spirit
to the camel skin art as well as Naqashi.
After Abdullah Naqash, his son Ashiq Naqash gave new touches to the art of his forefathers by
working on pots, articles of wood like furniture, doors, cots, jewellery boxes and stands besides
walls and roofs of famous buildings, says Abdul Rehman.

Malik Aashiq Naqqash (1930–2000)

 Renowned master of camel skin lamp art.
 Awarded Pride of Performance in 1958.
 Honored with the President’s Award in 1989 for his contributions to traditional arts.

Malik Abdur Rehman

Continues the family legacy of crafting exquisite camel skin lamps.

Malik Aashiq Naqqash Junior

A renowned artisan from the distinguished Naqqash family, known for their mastery in camel
skin lamp artistry.

5. International Recognition and Awards

 World Sufi Festival, Glasgow, UK – 2006

 First Award, IRCICA Muscat Festival – 2011
 World Craft Council 50th Anniversary, China – 2015
 Kamal-e-Fun (Gold Medal), Government of Punjab,
Pakistan – 2017
 Special Award, IRCICA, Tabriz University
International Festival – 2017
 Special Award, IRCICA, Baku, Azerbaijan – 2019
(Secured 1st position among artisans from 48
countries).

Evolution of the Craft

The camel skin lamp craft has undergone significant changes over the years. Artisans have
experimented with new techniques, designs, and materials, adapting to changing market
demands and consumer preferences.

6. Craftsmanship and Techniques

Malik Abdul Rehman Naqash, whose family has been involved in the art for nine centuries,
says three types of craftsmen -- Naqash, clayman and Dabgar -- play their role in making a
product.

The creation of camel skin lamps involves a meticulous three-stage process:

 Dabkri: Shaping the lamp form.

 Naqashi: Decorating the camel skin with intricate designs using the Naqashi painting
technique.
 Clayman: Adding the final touches to the lamp.

The Naqashi Painting Technique

The Naqashi painting technique is a traditional method of decorating camel skin. Artisans use
specialized brushes and paints to create intricate designs and patterns, requiring great skill and
precision.

Skilled Artisans

Skilled artisans are integral to the production of camel skin lamps. Their expertise and
creativity bring each piece to life, making every lamp a masterpiece.

7.Promotion of Multani Culture through Naqqashi Art

The intricate Naqqashi (traditional floral painting) featured on camel skin

lamps and other decorative pieces is deeply rooted in the cultural heritage of
Multan. The floral patterns used in this art form are symbolic of Multani identity
and aesthetics. Through their work, artisans from the Naqqash family continue
to promote Multani culture both locally and internationally.

These handcrafted lamps were proudly presented 12 designs at the Expo in

Osaka, Japan, showcasing the elegance of Multani craftsmanship on a global
stage.

8.Kamangharan Street: A Living University of Art

The Naqqash family resides in Kamangharan Street, located near Delhi Gate, Multan. This
street is often referred to as a "living university" due to its concentration of skilled artisans and
the transmission of traditional knowledge from generation to generation. Recognizing its
cultural significance, a research team from the United States conducted a detailed study on
Kamangharan Street, emphasizing its importance as a hub of living heritage and craftsmanship.

9. Characteristics and Significance

Camel skin lamps are distinguished by their:

Intricate designs: Reflecting the artisan's skill and attention to detail.

Natural beauty: The camel skin adds a unique texture and appearance to the lamps.

Cultural significance: These lamps are a symbol of Multan's rich cultural heritage and
craftsmanship. Camel skin lamps hold significant cultural value, representing the artistic
traditions and heritage of Multan. They are often displayed in homes, offices, and public spaces,
serving as a testament to the city's rich cultural legacy.

Symbolism: The camel skin lamp is often seen as a symbol of hospitality, warmth, and
elegance. Its unique design and natural beauty make it a popular choice for decorative purposes.

10. Global Recognition and Market

Camel skin lamps have gained international acclaim, with markets in countries like the USA,
Germany, China and India. Their popularity stems from their uniqueness and the cultural story
they tell.

International Markets

The global demand for camel skin lamps has created new
opportunities for artisans and exporters. These lamps are
highly prized for their craftsmanship and cultural
significance. Recently, they completed an order of moonlights
from China for around 500 pieces.

Tourism Potential

Camel skin lamps also have significant tourism potential. Visitors to Multan are often drawn
to the city's cultural heritage, including its traditional crafts.

11. Challenges and Preservation Efforts

Despite their popularity, camel skin lamps face challenges such as:

 Decline of skilled artisans: The craft relies on experienced artisans, whose numbers
are dwindling.
 Competition from machine-made products: Mass-produced lamps threaten the
market for handmade camel skin lamps.
 Preservation Efforts: Efforts to preserve this craft include training new artisans,
promoting the cultural value of handmade lamps, and supporting local artisans through
initiatives and government programs.
 Government Initiatives: The government should launch initiatives to support
traditional crafts, including camel skin lamps. These initiatives provide training,
financial support, and market access to artisans.

12. Conclusion and Recommendations

Camel skin lamps are a significant part of Multan's cultural heritage, showcasing the city's
artistic traditions and craftsmanship. To ensure the survival of this craft, it is essential t to
support local artisans and promote their work globally.

Training and Capacity Building: Provide training and financial assistance to local artisans
to enhance their skills and productivity.

Market Access: Explore new markets and platforms to promote camel skin lamps, leveraging
e-commerce and social media to reach a wider audience.

Preservation of Traditional Techniques: Document and preserve traditional techniques and

designs to ensure their continuation.

Tourism Promotion: Promote camel skin lamps as a unique souvenir option for tourists,
contributing to the local economy.

Supporting Local Artisans:

Purchase authentic handmade camel skin lamps directly from local artisans or reputable craft
organizations.

Encourage innovation and creativity among artisans while preserving traditional techniques.
Provide platforms for artisans to showcase and sell their work, both locally and internationally
Future Prospects:
  Innovations in design, technology, and marketing can help artisans adapt and thrive.
 Collaboration between government, NGOs, and private sector can ensure the long-term
viability of camel skin lamp craftsmanship.
 Preserving cultural heritage and promoting traditional crafts can contribute to
sustainable development and economic growth.

13.List of camel skin lamps stores in Multan

Multan Handicrafts Online Store
https://multanhandicrafts.com/?srsltid=AfmBOorBxE7od80JQ4EBZ3qVYfJbWcnn8HAlDTuHzEmk
5ofym5nUtjLb

Multan Handicrafts Store 5FX9+7M5, Qila Kuhna Qasim Bagh, Multan

https://g.co/kgs/u3xVGc9

Pakistani Crafts online store

https://pakistanicrafts.com/product-category/home-decor/camel-skin-lamps/

Aliyaz Camel Skin Crafts Multan

https://m.facebook.com/AliyazCamelSkinCraftsMultan/

From Bone to Beauty: The Legacy of Camel Bone Craft

1.Origin of camel bone jewelry
Camel bone jewelry has origins in various cultures and regions,
with notable traditions in Tibet and areas of the Indian
subcontinent, including Multan. In Tibet, it's a craft rooted in the
nomadic traditions of the plateau, using camel bone as a resource
in the harsh environment. In Multan, camel bone carving is a
traditional handicraft with a rich artistic heritage, creating jewelry,
decorative pieces, and functional items. Additionally, camel bone
jewelry is found in African cultures, such as in Sudan and
Morocco, and is also used in Islamic traditions for prayer beads
(Tasbih).

2.History Of Bone jewelry

The first bone jewelry pieces were made by early Hawaiians who used bones from animals
such as sharks, whales, and cows. These bones were used for tools, weapons, and ornaments.
The cultural significance of bone jewelry was to symbolize the wearer's connection to their
ancestors and the natural world.

3.Preserving Heritage: Ustaad Rasheed and the Legacy of Camel Bone Craft

Abdul Rasheed Qureshi, in his 70s, has been associated

with the bone carving craft for more than 55 years. His
work speaks volumes of the craftsmanship he has
perfected over decades. He has learned the craft of
camel bone carving from his father when he was only
eight years old and has been doing it since then.

Ustad Rasheed says that one of the main reasons of

their debilitating economic condition is the continuous
exploitation by the middlemen. They do not have
knowledge or finances to market their products in
bigger cities and in international market. Hence, they
end up selling their products to middlemen at really low
prices. This keeps them in the same cycle of
exploitation which further deteriorates their economic
condition.

Awards and International Recognition

Ustad Abdul Rasheed Qureshi has attended many exhibitions and big shows abroad and won prizes
including 1st prize in bone carving from the exhibition in Berlin, Germany. He has also conducted
numerous workshops and crash courses in Pakistan and abroad.

3.Generational Legacy in Camel Bone Craft: From Ustaad Abdul Rasheed

Qureshi to Zeeshan Rasheed

"Due to the ban on elephant ivory, we began making jewelry from camel bone. Initially, the
bones are sourced from factories and soaked in soda water before being carved and designed.
During COVID-19, our business slowed down, so we launched an online store called Vceela."
Online shop of Ustaad Abdul Rasheed Quershi and his son Zeeshan Rasheed
He remains positive about the future of craft and artisans as technology, if properly used, can
empower them and make them stand on their own feet and take their craft to local and
international markets from their workplace in Multan. He now has his own online shop at
vceela.com from where he sells his craft to local and international clients from Multan and
since no middlemen are involved, he takes all the profits of his craft and his hard work.

4.Varieties of Camel Bone Jewelry

Camel bone jewelry comes in many forms, including:
Earrings
Delicately carved with geometric or floral patterns.

Necklaces
Featuring pendants shaped into peacocks, flowers, or Islamic symbols.
Bracelets and Bangles

Often combined with brass or wood for contrast.

Rings Made from small segments of polished bone with embedded stones.
Brooches and Hair Pins Popular among tourists for their uniqueness.

Each piece is polished and sometimes dyed in natural colors (brown, ivory, or black), then
varnished to give it a refined look.

5.Craftsmanship Process

Selection of Bone

Only bones from healthy, naturally deceased camels are used.

Sanitization

Bones are boiled and cleaned thoroughly.

Carving

Artisans use small knives and chisels to create intricate designs.

Polishing and Coloring

Natural dyes and varnishes enhance the look and durability.

Assembly

Beads, chains, or other materials are added to complete the jewelry.

6.Modern Dimensions

Fusion with Modern Fashion

Designers now mix camel bone with metal and fabric to appeal to younger audiences.

Export and Tourism

These items are popular among international tourists and are exported to Middle Eastern and
European markets.

Women Empowerment

Many home-based women entrepreneurs in Multan now engage in crafting or assembling

camel bone jewelry.

7.Challenges and Opportunities

Challenges
Decline in skilled artisans due to lack of training programs.

Competition from machine-made alternatives.

Limited marketing and branding.

Opportunities

 Online platforms can help artisans reach global markets.

 Government support and tourism can boost the industry.
 Cultural festivals and craft exhibitions offer exposure.

The Intricate Beauty of Okair sazi in Multani Heritage

1.Introduction
The ''Okair Sazi'' has been one of the Multan’s popular crafts that involve intricate paper
cuttings with usually floral designs that were originally used as a basis for the embellishment
of leather products by employing ''Tilla or Zarri ''work. ''Okair'' is a ‘Saraiki’ word which means
‘to emboss’, the craft of Okair Sazi was traditionally done on thin piece of goat skin instead of
paper and that was pasted onto the leather sheet and embroidered with ''''Tilla. Since, the ''Okair
Sazi'' on leather was a slow process and uneconomical therefore the Tilla artisans skipped this
process and started Tilla embroidery directly onto the leather but this resulted in relatively less
attractive design work. Later the base material of Okair Sazi was replaced with paper instead
of goat skin. This enhanced the production and quality of designs as well. The paper provided
the artisans with the liberty to cut papers in a bundle that can be used for at least 10 pairs of
traditional ''Multani Khussas''

2.Contribution of Ustad Niaz Ahmed

Ustad Niaz Ahmed is regarded as the master craftsman who revolutionized Okair Sazi.
Through his visionary efforts, he expanded the scope of the craft to include not only paper but
also leather, artificial leather, plastic, and tissue paper. His innovations included themes such
as holy verses, poetry, quotations, invitation cards, scenic imagery, henna patterns, and book
covers. He introduced what can be termed 'Okairmanship,' ushering in a new era for the art.
3.Haq Nawaz leading artist of Okair Sazi

Haq Nawaz, a leading artist of Okair Sazi or the art of the paper
cut work. Okair Sazi is considered an indigenous art of Multan
but Masood Akhtar in his research paper “Okair Sazi: The
Traditional Paper Cut Work of Multan”, argues that it started
centuries ago in China.

Nawaz is the disciple of Ustad Ustad Niaz Ahmed who gave this
craft a new life 50 years ago. As initially, Okair was merely a
supporting craft which was used for embroidery on Khussa with golden and silver threads. But
Ustad Niaz used his expertise in such a creative way to embellish poetry verses, invitation
cards, logos and monograms and later on writing pads and book titles. Nawaz is a brilliant
disciple of his Ustad. He spent 25 years working under the supervision of Ustad. Nawaz told
Ustad Niaz Ahmed had trained 76 disciples, out of those only three are still working.

Nawaz says that the craft of Okair Sazi and our craftsmanship has great potential but their
wages are very low. “The government should arrange art and craft shows, nationally and
internationally. It’s urgently required for the betterment of craftsmen and the craft”, He said.

Where all the traditional arts and crafts of Multan are facing a decline due to lack of patronage
and governmental support, one is still thriving. It is a fascinating art of mosaic (glass cut work)
in which Multan has made its recognition. The art has initially been used in palaces. We can
find its finest examples in Sheesh Mahal of Lahore Fort, however, currently the art is being
used primarily in mosques and shrines. He is currently working in the historic Ghanta Ghar
building of Multan, which serves as a hub for preserving and promoting traditional crafts.

Another craftsman Muhammad Ajmal Chishti is in this art for 45 years. He learnt it from
different experts and taught to dozens. Chishti told almost all his disciples have sufficient work
and all are satisfied. Chishti has not just performed this art for mosques and shrines but also
made many mosaic portraits of national leaders including Quaid –e-Azam, Allama Iqbal and
Zulfiqar Ali Bhutto.
4.Tools and Techniques
The primary tool used in Okair Sazi is a sharp needle, which varies in size from 1mm to 5mm.
These needles are sharpened using a stone. The size of the needle is selected based on the
design requirements—smaller needles for fine detailing and larger ones for broader patterns.

The paper sizes used in Okair Sazi typically include:

• 16 x 18 cm

• 18 x 25 cm

• 20 x 28 cm

Paper sizes typically used range from 9 x 12 cm to 25 x 36 cm, with each size requiring a
different approach to detailing.

5.Awards and international Recognition

National Craft Council of Pakistan Award in 1989

Loke Versa Islamabad Award in 1991, 1992, 1994, 1996, 1999, 2002, 2003, 2005

Multan Art Council Award in 1992, 1999, 2005

Rawalpindi Art Council Award in 2001

Jure Art Council Award in 2004

Loke Versa Islamabad Award in 2005

International School Islamabad 2001 & 2002

Slik Root Festival 2001, 2002

World Sufi Festival 2006 (UK) Glasgow

Pakistan Golden Jubilee Festival Multan 1997

Multani Khussa: A Traditional Pakistani Footwear

1.Introduction

Multani Khussa is a handmade leather shoe with a rich history and

cultural significance in Pakistan, particularly in Multan. The shoe has
a long history dating back to the Mughal era, inspired by Central
Asian and Persian nobles' footwear.

The art of Khussa making in Multan is a cherished tradition deeply

ingrained in the cultural heritage of Pakistan. Renowned for its
exquisite craftsmanship, Multani artisans meticulously craft these
traditional shoes using high-quality leather and intricate embroidery
techniques.

2.History and Origin of Khussa

A timeless piece of our cultural heritage and tradition, a Khussa is a type of leather footwear
that has been around for centuries. Khussa's history dates back to the Mughal era, with the term
"Khussa" coming from the Persian word "Khassa," meaning traditional and pure. With the
earliest influence in pre-Mughlai times coming all the way from China, khussay (plural of
khussa) were initially made with wood as the sole. However, due to practical issues, this idea
was dropped fairly early on. Pakistanis soon made the khussa into their own style by combining
buffalo and cow leather together, with the former used for the sole to make it sturdy, and the
latter for the upper covering, as cow leather is more pliable and easier to design.
While it began as the footwear of choice for the common man, it was soon taken up by royalty.
The Mughal emperor Jahangir, son of Akbar, made the khussa famous by introducing
embellished versions of it. The shoe was popularized by Mughal Emperor Jahangir, who
perfected its design and gave it a sharp pointed end, known as "Saleem Shahi." As his shoe of
choice, it became well-known and new designs began coming out, made with threads of real
gold and silver, with gems, stones, and gorgeous embroidery covering the upper part of the
khussa. Initially, Khussa was a unisex shoe but later evolved into different designs for men and
women.

This association with royalty accelerated the significance of the khussa in Southeast Asia.
Artisans from Multan, Bahawalpur, Chakwal and Punjab (both Pakistan and India) flocked to
create new and innovative designs of the khussa.

3.Ustaad Manzoor Hussain – Master Khussa Artisan of Multan

Ustaad Manzoor Hussain is a celebrated traditional khussa

(handcrafted leather footwear) artisan from Multan, Pakistan, with
over 40 years of experience in this intricate craft. He has devoted
his life to preserving the cultural art of khussa making, which is
deeply rooted in South Asian heritage.

His khussa-making process begins with the careful selection of

leather from the market. He uses cow, camel, and goat leather,
but prefers cow leather for its softness and suitability for human
feet. In contrast, camel leather, while durable, is considered "hot"
and less comfortable for regular wear.

The traditional method involves several stages:

 Spare parts preparation (upper part, sole, and lining),

 Precision cutting using handmade stencils,
 hand-stitching using thick cotton threads, a skill requiring patience and precision.

Ustaad Manzoor has passed on his skills to younger generations and continues to promote the
craft with pride.
Achievements and Recognitions

Throughout his career, Ustaad Manzoor Hussain has received numerous awards that reflect his
exceptional craftsmanship and dedication:

 Multan Art Council Award – 1987

 Lok Virsa Participation – 1982 to 2008
 Culture, Food & Handicraft Exhibition, Lahore Award – 1996
 National Crafts Council Award, Karachi – 1997
 Islamic Art Festival Award, Islamabad – 1994
 His work has been praised by General Ayub Khan

Contact and Location

📍 House No. 480, Mohallah Jinday Shah Rizar, Outside Delhi Gate, Multan, Pakistan.

4.Current Trends

Although they’ve never actually gone out of style (look

back at fashion trends of the last 20 to 30 years, and
you’ll still find fashionistas donning a classic khussa!),
recent trends have made sure that the khussa is a solid
part of your wardrobe. Whether you’re pairing it with
jeans or shalwar kameez, a maxi dress, or a churidar,
khussay really help pull any look together.

These days, the styles of khussay available in the market are immense. You can choose khussay
that are designed with embroidery, dabka, tilla, kora, gota, beads, sequins, mirrors, pearls, sells,
ribbons, mukesh and even velvet! The choices are manifold, and each design accentuates the
beauty of the khussa. While a colorful khussa has its own significance and place, recent trends
are shifting towards a more minimalist look even in our traditional footwear.
5. Steps Involved in Khussa Making

1. Design Selection: Artisans select designs and patterns for the Khussa, often inspired by
traditional motifs and cultural heritage.

2. Leather Selection and Cutting: High-quality leather is selected and cut

into desired shapes and sizes.

3. Stitching and Embroidery: Intricate stitching and embroidery are done

using threads, sequins, and other decorative elements.

4. Assembling: The different parts of the Khussa are assembled, including

the upper, sole, and heel.

5. Finishing: The Khussa is finished with polishing, buffing, and other

techniques to give it a glossy appearance.

Traditional techniques used in Khussa making include hand embroidery, leather crafting, and
thread work. Artisans must possess certain skills, such as attention to detail, manual dexterity,
and creativity, to create intricate designs and patterns.

7.Characteristics and Cultural Significance

Multani Khussa is known for:

 Unique Designs: Intricate patterns, vibrant colors, and pointed toes make Khussa
distinctive.
 Comfort: Soft cushions and lightweight leather ensure comfort and ease.
 Cultural Significance: Khussa shoes are an integral part of Pakistani heritage,
symbolizing status, nobility, and cultural identity. They're a staple at weddings,
festivals, and traditional celebrations, reflecting the country's rich craftsmanship and
history.

8.Types of Khussa

Some popular types of Khussa include

 Leather Khussa: Made from high-quality leather, often featuring intricate embroidery
designs. Velvet Khussa: Used for festive occasions, often adorned with sequins and
delicate thread work.
  Silk Khussa: Made from raw silk fabric, featuring captivating beads and a lustrous
finish.
 Printed Khussa: Feature trendy prints and designs, suitable for casual wear.
 Embroidered Khussa: Intricately embroidered designs, perfect for formal occasions.

9.Global Recognition and Market

Multani Khussa has gained popularity globally, with online platforms and stores catering to
international customers. Pakistani brands like OMY, Saheliyan, and EPISODE 09 offer a wide
range of Khussa designs, making it accessible to customers worldwide.

10.Challenges and Preservation Efforts

Despite its popularity, Multani Khussa faces challenges like:

Inflation and Market Competition: Rising costs and competition from machine-made shoes
affect artisans' livelihoods.

Online Platforms: Online sales and marketing help increase Khussa's global reach and support
artisans

Preservation of Traditional Techniques: Efforts are being made to document and promote
traditional craftsmanship.

To preserve traditional Khussa making techniques, it's essential to document traditional

methods, provide training to young artisans, and support local artisans by promoting their work.
By doing so, we can ensure the continuation of this beautiful craft and keep the tradition alive
for future generations.

11.Conclusion and Recommendations

Multani Khussa is a cultural treasure that embodies the rich heritage and craftsmanship of
Pakistan. Its intricate designs, vibrant colors, and comfort make it a beloved footwear choice.
To ensure its continuation, it's essential to support local artisans and promote their work.
Recommendations include providing training and resources to artisans, encouraging
sustainable practices, and creating online platforms to showcase and sell Khussa globally.
Additionally, collaborations between designers, artisans, and brands can help innovate and
modernize Khussa designs, making them appealing to a wider audience. By preserving and
promoting Multani Khussa, we can:
  Support local artisans and their livelihoods
 Preserve Pakistan's cultural heritage
 Promote traditional craftsmanship
 Create economic opportunities for communities

By working together, we can keep the tradition of Multani Khussa alive and thriving, allowing
future generations to appreciate and enjoy this beautiful craft.

Saraiki Ajrak: A Symbol of Culture, Identity, and Artistry

1. Introduction

The Saraiki Ajrak is not just a piece of cloth—it is a proud symbol of the Saraiki region’s
cultural identity, tradition, and aesthetic expression. With its iconic deep blue hues and intricate
patterns, the Ajrak represents the soul of southern Punjab, weaving a timeless link between the
past and present.

2. History and Origin

The roots of Ajrak-making can be traced back to the Indus

Valley Civilization (circa 2500 BCE), where early forms
of block printing and natural dyeing were practiced. While
the Sindhi Ajrak is widely known, the Saraiki Ajrak has
evolved as a distinctive blue-hued textile tradition of the
Saraiki-speaking belt—especially in Multan, Bahawalpur,
Dera Ghazi Khan, and Rajanpur.

Multan, also known as the City of Saints, played a vital

role in the development of blue Ajrak, aligning its designs
with local aesthetics and Sufi symbolism.

The Saraiki Ajrak features locally-inspired motifs and is made primarily using indigo blue dye,
giving it a unique visual and cultural identity.
Ajrak blocks
The most commonly observed pattern in Ajrak blocks and hence the fabric is dots between two
lines, these dots are of the same radius in almost all the designs. These dots were initially carved
out by hands, however later on brass nails were used to fill spaces between the two walls. This
aspect is crucial in determining the expertise of the artisan.

The Mughal era has a deep influence on these designs. The Muslims followed a sense of strong
geometry in their patterns and most patterns were formed by the interaction of two or more
circles. The Ajrakh blocks were designed taking inspiration from the Muslim architectural
elements that form the 'Mizan' - balance and order. The grid system determined the repeat
patterns.

3.Waheed Subhani – Traditional Block Printing Artisan

Waheed Subhani is a skilled artisan from Pakistan with over 32 years of experience in the
traditional craft of block printing. His work showcases the intricate beauty of this heritage art
form, blending centuries-old techniques with contemporary designs.

Throughout his career, Waheed Subhani has actively contributed to the promotion and
preservation of block printing through participation in several notable workshops and
festivals:

 Participated in the Lok Virsa National Youth Arts & Crafts Festival workshops held
in the years 1999, 2001, 2006, 2007, 2013, and 2015, and was awarded certificates of
participation in Lahore.
 Took part in a block printing workshop at Bahauddin Zakariya University (B.Z.U.)
Multan in 2004, where his craftsmanship was recognized with a cash award.

4. Cultural Importance

Saraiki Ajrak holds deep emotional, cultural, and symbolic value:

Cultural Identity: Wearing an Ajrak expresses Saraiki pride and ethnic heritage. March 6th is a
day that our Saraiki population hold dear as it is Saraiki culture Day and Sajrak stands as the
star of the show, being a prominent part of their cultural heritage and celebration. Pakistan
prides itself on its sense of community, rich cultural heritage, and diversity and Sajrak is an
integral part of our culture that stays true to its nation’s core values, representing honour,
integrity and respect by one who adorns it.

Social Symbolism: Used to welcome guests, worn during cultural celebrations, and featured
in folk dances like Jhumar.

Spiritual Significance: Ajrak is often worn during Sufi events, Urs celebrations, and spiritual
gatherings.

Political Representation: It serves as a symbol of Saraiki unity and regional identity in

movements for linguistic and cultural rights.

5. Variety and Design

Though rooted in ancient techniques, the Saraiki Ajrak has diversified in its styles and
applications:
Color Palette: The dominant color is indigo blue, reflecting the use of natural indigo dye,
which signifies calmness and tradition. Dyes Ajrak craft products are made with natural dyes.
The entire production of the products includes both vegetable dyes and mineral dyes. Indigo is
a key dye.

Design Motifs: Include floral, paisley, star-like, and geometric patterns, different from the
predominantly red Sindhi Ajrak.

6.Types

Traditional Ajrak: Large block-printed shawls with hand-dyed blue tones.

Contemporary Ajrak: Dupattas, scarves, and modern accessories inspired by the traditional
fabric.

Ajrak in Décor: Cushion covers, tablecloths, and wall hangings created from Ajrak prints.

7. Other Dimensions

A. Economic Dimension

Ajrak supports local artisans and women workers.

It boosts cottage industries and has growing domestic and export market potential.

B. Artistic and Educational Impact

Skills of block printing and dyeing are preserved through craft schools and community
workshops.

Ajrak promotes intergenerational knowledge transfer and artistic innovation.

C. Cultural Tourism and Promotion

Displayed during events like Saraiki Culture Day, Cholistan Desert Rally, and folk festivals,
drawing attention to local heritage.
Attracts tourists and researchers interested in textile arts and cultural expressions.

D. International Reach

Saraiki Ajrak is embraced by the diaspora during weddings and cultural events.

Increasingly popular among fashion designers promoting ethnic fashion globally.

8. Challenges and Preservation Needs

Despite its value, Saraiki Ajrak faces challenges such as:

Market competition from synthetic, mass-produced versions.

Decline of natural dye usage due to cost and availability.

Limited institutional support for artisans and traditional craftsmanship.

Preservation efforts should include:

Government and NGO support for traditional artisans.

Fair-trade certification and promotion.

Online sales platforms to connect local producers with global buyers.

Art exhibitions and heritage campaigns.

Multani Embroidery: A Living Tradition
Kacha Tanka style
Multani embroidery, particularly the Kacha Tanka style, is
an ancient craft with a rich history in Multan, Punjab,
Pakistan. This traditional art form is not only a means of
creative expression but also a vital part of the region's
cultural heritage and economic stability. In this report, we
will delve into the history, techniques, and significance of
Multani embroidery, exploring its role in the lives of women
and the community.

Zari/Adda Work
Zari/Adda Work The art of zari embroidery, historically
linked with Indian royalty, continues to be a celebrated technique
in metal embroidery. Traditionally, it involved the use of fine gold
and silver threads, adding a luxurious touch to garments and
textiles. However, with the advent of modernization, metallic zari
has emerged as a more accessible alternative, replacing the
traditional precious metal wires. This evolution has allowed a
wider range of people to appreciate and utilize zari embroidery in
their designs. Khalil Ahmed Sayal, a master artisan in Multan
Craft Bazaar, demonstrates exceptional skill in the art of zari
embroidery. With years of experience and expertise, He expertly
incorporates metallic zari into his creations, showcasing his
mastery of this craft. Khalil Ahmed Sayal's work not only exemplifies the intricate beauty of
zari embroidery but also contributes to the preservation and evolution of this traditional art
form, making it accessible and relevant in contemporary times.
Gotta Kinari Work
Gotta Kinari, a renowned art form in Multan, has gained
popularity as a traditional fashion embellishment. This
technique involves sewing gotta (silver, gold, or modern
metal) onto the edges of fabric, creating a decorative border or
edging. The intricate designs and patterns crafted with gotta
add a touch of elegance and glamour to garments, making
them visually appealing and culturally significant. Tehmina
Rafique, an accomplished artisan in Multan Craft Bazaar,
inherited the craft of Gotta Kinari, as did many others in her
community. With her expertise and passion for the art, she has
not only preserved this traditional technique but also shared
her knowledge with over a thousand students. Tehmina
Rafique's dedication to teaching and mentoring others ensures
the continuation of this art form and its transmission to future
generations. The acceptance and popularity of Gotta Kinari as
a fashion wear reflect the appreciation for the rich cultural
heritage of Multan and the craftsmanship of its artisans.
Through their skillful work, artists like Tehmina Rafique contribute to the promotion and
preservation of this beautiful tradition

2.Ancient Roots

Multani embroidery has its roots in the ancient civilization of the Indian subcontinent. The
Kacha Tanka style, in particular, is a testament to the region's rich cultural heritage. This
traditional craft has been passed down through generations, with each stitch telling a story of
the region's history and traditions.

3.Cultural Expression

Multani embroidery is more than just a craft; it's a medium for cultural expression and
storytelling. The designs often feature floral and geometric motifs inspired by the region's
history and nature. These intricate patterns are not only aesthetically pleasing but also carry
significant cultural meaning.

4.Livelihood
Multani embroidery provides opportunities for women to engage in income-generating
activities, contributing to their families' livelihoods. This craft has empowered many women
in the region, enabling them to support their families and communities.

5.Community and Preservation

Multani embroidery fosters a sense of community and cultural preservation, as the skill is
passed down through generations. This living tradition is a testament to the region's rich
cultural heritage and the importance of preserving traditional crafts.

6.Artistic Expression

Multani embroidery is an art form that requires great skill and creativity. The intricate designs
created through the simple running stitches of Kacha Tanka are applied directly onto the fabric,
making each piece unique and beautiful.

7.Materials and Techniques

Multani Kacha Tanka is typically done on cotton or linen with cotton or silk threads. The
embroidery process involves several stages, including:

1. Design Selection: The design is selected, often inspired by traditional motifs and patterns.

2. Fabric Preparation: The fabric is prepared, and the design is traced onto it.
3. Embroidery: The embroidery process begins, using simple running stitches to create
intricate patterns.

4. Finishing: The embroidery is finished, and the fabric is treated to give it a unique texture
and appearance.

8.Significance of Multani Embroidery

Multani embroidery holds significant cultural and economic importance in the region. It:

1. Preserves Cultural Heritage: Multani embroidery is a vital part of the region's cultural
heritage, preserving traditional techniques and designs.

2. Empowers Women: This craft provides opportunities for women to engage in income-
generating activities, empowering them to support their families and communities.

3. Promotes Community Development: Multani embroidery fosters a sense of community

and cultural preservation, promoting community development and social cohesion.

9.Challenges and Opportunities

Despite its significance, Multani embroidery faces several challenges, including:

1. Lack of Recognition: The craft is often overlooked, and its significance is not fully
recognized.

2. Competition from Machine-Made Embroidery: Machine-made embroidery has become

increasingly popular, posing a threat to traditional crafts like Multani embroidery.

3. Limited Market Access: Artisans often lack access to markets, making it difficult to sell
their products and sustain their livelihoods.

10.Recommendations

1.Documentation and Research: Documenting the history and techniques of Multani

embroidery can help preserve the craft and promote its significance.

2. Training and Capacity Building: Providing training and capacity-building programs for
artisans can help them develop new skills and improve their products.

3. Market Access: Improving market access for artisans can help them sell their products and
sustain their livelihoods.

4. Promotion and Awareness: Promoting Multani embroidery through exhibitions,

workshops, and marketing campaigns can help raise awareness about the craft and its
significance.

By working together, we can preserve and promote Multani embroidery, ensuring its
continuation for future generations.

References
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https://urbanunit.gov.pk/Download/publications/Files/18/2023/Industries,%20Trade%20&%20Com
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