 |
| |
WEEKLY
SECTIONS |
 |
|
 |
| Keen learners throng heritage museum |
|
|
|
Wednesday, April 23, 2008
Islamabad
The third set of skill training workshops conceived by Lok Virsa is currently underway at the National Heritage Museum, with famous potter Rahimdad from Saidpur village and master artisan in embroidery Kaniz Fatima from Quetta sharing their respective expertise with a group of beginners anxious to learn the tricks of both trades.
The workshops, which are being conducted as part of Lok Virsa’s Museum Educational Programme, will continue till April 28. Four workshops — one each on papier mache, wood carving, block printing and wax printing — have so far been completed.
The pottery workshop is being conducted by 70-year-old Rahimdad, who has been associated with this art since he was a child. He has participated in scores of festivals and fairs across the country including the ‘Artisans-at-Work Festival’ that kicked off in Islamabad in 1982 and has been awarded on numerous occasions.
Besides making household earthenware like cooking pots, water pots, jars, large plates, Rahimdad also creates decorative items like terracotta bells, lamps and vases. His handmade clay items are equally popular among locals and expatriates. His expertise is being well utilised by various arts institutions and schools, where he is imparting training to younger generations.
Pottery means any article made of clay or of a plastic mixture of clay and other substances hardened by the application of fire. All pottery, whether of ancient or modern times, is made by the simplest method. The clay dug from earth’s surface is prepared by beating and kneading with the hands, feet or simple mallets of stone or wood. In ancient pottery, the clay, well-tempered with water, was almost invariably used without any additional material. From this pure clay, vessels were shaped by scooping out or cutting a solid lump or ball, by building up piece by piece or by squeezing cakes of clay on to some natural object or prepared mould or form.
The potter’s wheel, though very ancient, was a comparatively late invention that attained its present form independently by many races of men. In its simplest form, it was a heavy disk pivoted in a central point to be set going by hand, as the workman squatted on the ground. About the Christian era, and in Egypt apparently, a much larger disk, which the potter could rotate by foot, was introduced. This gave the potter an opportunity to use both hands in the manipulation of the clay.
In the 17th century, the wheel was spun by means of a cord working over a pulley and in the 19th century, the steam-driven wheel was introduced. The rotating process completed, the piece is removed from the wheel and set aside to dry when it is leather-hard, it may be re-centered carefully on the wheel and turned down to the exact shape and polished to an even, smooth surface.
The tradition of pottery in Pakistan incorporates pre-Islamic and Islamic trends; contemporary pottery is, therefore, a fusion of these two traditions. The discovery of Moenjodaro and Harappa civilisation of the Indus Valley is of great significance, as it clearly indicates that the art of pottery had attained a high degree of perfection even before 2500 B.C.
The embroidery workshop is being conducted by Kaniz Fatima, who has been perpetuating the centuries’ old craft of embroidery from Balochistan. She acquired the skill from her home and has been, for the last 15 years, carrying on the traditions of her forefathers. She is currently associated with an NGO where besides other activities, she imparts training to young people.
Embroidery is the embellishment of any material with pattern or design done with the needle and thread on material. It reflects local traditions, culture and physical environment of people and places where it developed.
The embroidery work of today is a blend of the old and new methods; the ethnic mixture of the population has resulted in each region of Pakistan developing its own distinct style. Punjab, Hazara and Swat’s ‘Phulkari,’ Kashmir’s ‘Kashidakari’ and ‘Do Rukha’ and the magnificent work wrought on the Baluchi ‘Pashk’ and ‘Gaj’ work of Sindh are indeed praiseworthy.
The embroidery of Balochistan is magnificent. Bold colours and fine stitches characterize Balochi embroidery, which enjoys worldwide fame. No less than 28 types of stitches are applied in this art. Mirrors form an integral part of Balochi embroidery. The stitches applied are generally named after seasons and flowers.
|
|
|
| Back
| Send
this story to Friend | Print
Version |
|
|
|
ISSN 1563-9479 
