TRADITION OF KASHIKARI IN PAKISTAN: A CASE STUDY OF KALHORA AND TALPUR PERIOD

Abstract

This research is concerned with history, arts, crafts, design, architecture, anthropology and cultural practices. The approach is based on experiencing the praxis of Tradition of Kashikari 1 in Kalhora 2 and Talpur 3 period. The research is concentrated on the context of the practice of Kashikari in Pakistan; its historical perspective, visual construction and communication of Kashikari art as surface decoration on monuments in Sindh. The study based upon the contribution of the artisans, the actuality of the content in the Kashigar’s contest and a style perceived for surface decoration in Sindh. Panofsky’s 4 image reading method is used for qualitative research upon the surface decoration of monuments. Wherein a large number of monuments, mosques and places decorated with Kashi work in the period of Kalhora and Talpur rulers of Sindh were visited and data was collected in shape of photographs, video and interviews of artisans and historians were conducted. The sketches were drafted for the study of details of the surface decoration and the manufacturing process with true methods and materials is studied from Kashikari practitioners. Finally the dominant architectural monuments, famous for the Kashikari surface decoration are discussed to understand the evolution, development and appearance of the art. In the region of Sindh and Multan Kashikari has splendid past, several buildings have been adorned by glazed tile work and the architecture surfaces has been ornamented by Kashikari painted tile works. But in the colonial period, this art form has been deteriorated, after the independence the splendid examples are restored with bad quality of the Kashikari work or the surfaces were replaced with plain stone and marble. The un-availability of professional supervision, lack of interest of 1 Kashi means Ceramics in general and kari means work; the term is used for Ceramic work in Sindh 2 1701-1782 A.D. 12-Kalhora rulers ruled the Sindh; wherein their period is main area of research. 3 1782-1843 A.D. Talpur ruled Sindh for 61 years; wherein the Country was divided in to three states i.e. Hyderabad, Kahirpur and Mirpur khas. 4 Erwin Panofsky (1892-1968): German art historian, highly influential in the modern academic study of iconography. [ix]government and the critical condition of innovation by Kashigars 5 has created a critical condition for this profession. The art institutions and academies are responsible for the downfall of Kashikari and also the public sector organizations had not used their sources for consideration and patronization of this art form. In process of study, it is well understood that there is a huge gap between the art schools training and system of Ustad 6 Shagerdi 7 . Young generation of kashigars have refused to learn the Kashi, working with clay & fire; seems them only a labor. The social status, personal development, creativity and novelty of the field are stand away from the today's Kashigars’s work, in parallel to the excellent works of their ancestors. The neighboring nations are fully conscious of their historical connection with Kashikari, therefore they are still admiring their indigenous arts with their original methods, techniques and materials, and promoting the Kashikari art as a traditional and cultural identity of their architectural buildings with its imperative characteristics. Same as; here is the responsibility of government sector and public institutions to impart proper education and training for accurate conservation of the art forms with its particular mechanism of indigenous materials and techniques. Thus, the Kashikari is a trans-boundary art work throughout the centuries in Sindh, Middle East, and Central Asia and in west also. It is pertinent that Sindhian Kashikari was deliberately re-classed as a craft and the continuity of Kashikari practice distorted in the colonial British Raj period 8 . Due to that distortion of British Raj period, the historical patronage and perspective of Kashikari has been marginalized. The Kashi karkhana 9 withered and the practice of Kashi perished away. It is revealed through the study that the art of Kashi have sure and solid 5 Kashigar: in Sindhi Language used for the person who practices Kashikari art. 6 Ustad: in Persian, Urdu and Sindhi languages term Ustad used for Master. 7 In indigenous languages relation between Master and his apprentice has very great importance, by this relation Master’s art form is converted into the student. This relation is called ‘Ustadi-Shagerdi’ mean Apprenticeship. 8 The country of Sindh was captured by Colonial British Raj in 1843 and the period was prolonged till the separation of sub-continent in1947. 9 Karkhana means the workshops [x]foundation as an indigenous Sindhian art work, in terms of raw material, availability of minerals, soil, climate, physical features and the lie of the land; which are determined by the geography of Sindh. Further, the Sindhian Kashi has a distinguish diversity in cultural context, aesthetics, medium, color and application of primitive & indigenous technical procedures of non figurative-geometrical and floral patterns for surface decoration in Sindh; which availed the peak of aesthetics in Kalhora and Talpur period.