Written by: Virdah Khan
Posted on: November 23, 2021 | 
| 中文
Wax painting exhibition at the Embassy of Pakistan in Tokyo in 2020
According to Moin Qazi’s essay “Our Dying Crafts”, which was published in the Statesman in September 2021, “a plan for the promotion of a craft can yield results only if it is a sincere exercise in which the craftsmen remain the key focus. However, such efforts are generally short-term in nature. They provide a mere band-aid, with critical issues airbrushed.”
Similar thoughts were voiced by Pakistan’s oldest Wax painter, Riaz Ahmed, during my recent conversation with him. Riaz, who is 70 years old, is an institution in himself, and his wax paintings on silk have helped him earn both national and international recognition. However, Riaz is not satisfied since the craft, which has been perfected over decades, is now on the verge of extinction with no interest from the Government in preserving this rare technique.
Riaz Ahmed, 70, creates Wax paintings on Silk
In the age of micro-entrepreneurship when platforms like Etsy, Artsy, and Shopify are offering attractive Returns on Investment (ROI) to crafters and art entrepreneurs, it is surprising to see that the Government of Pakistan has yet to think about the preservation and promotion of endangered crafts, by leveraging these platforms for the benefit of the crafting community as well as the cottage industry. As a result, Pakistan’s ancient professions, and their practitioners, occupy an exhibitory status—the average Pakistani looks at them long enough to admire but quick enough to be able to move to the next endangered specimen on display.
Peacock - a Mughal favorite - wax painted on silk by Riaz Ahmed
The truth is that Museum showcases and exhibition booths are built to display, rather than honor or preserve, the exquisite regality of Pakistan’s living heritage, which stands on the verge of extinction. Wax paintings on silk, which are produced by Riaz Ahmed, are just one example from the treasure chest that is our ancient heritage. The colorful silken cloths etched with diadem-like motifs are reminiscent of the famous Mughal grandiosity and allude to the culture of Central Asian countries along the Silk Road. Riaz has learnt the craft of painting silk with tree wax from his ancestors. There is an unmistakable legacy of changing times embedded in his work. The master artisan has witnessed shifts such as the partition, wars, and peace. He is also the individual who was readily recognized by Governments on both sides of our eastern border. This makes his craft an endowment worth national pride.
A Wax painting on silk
However, Riaz is deeply concerned about the future of this unique artistry. His craft, like that of many others, is rapidly fading away, with no Government patronage or earmarking in sight. Even though some NGOs advocate for the preservation of ancestral craftsmanship, their work tends to act like a band-aid—which is highlighted by Moin Qazi. Due to a consistent lack of accountability and a competition for funding opportunities within the NGO sector, these short-term efforts act as a distraction from serious planning towards the preservation of Pakistan’s living heritage.
Japanese craft Satsuma Kiriko (Credit to The Gate)
On the other hand, strong governmental policies, developed in conjunction with private experts, have caused a revival of traditional craftsmanship in many countries. In Zhejiang, the dying craft of Chinese bamboo-weaving, which was listed as an intangible cultural heritage in 2016, has started to show signs of revival. In 1975, a law was passed to protect traditional techniques and craftsmanship in Japan, which resulted in the revival of the forgotten craft of Satsuma Kiriko. In the UK, the Endangered Crafts Fund has led to the revival of the lost art of fore-edge painting and the extinct craft of tool-making for harvesting shellfish. The craftsmen of these countries have flourished, due to their utilization of olden traditions. It should be noted that thriving workmanship is a hefty pay back to the economies of these countries and “craftsmanship is an heirloom that is passed from one generation to the next; it cannot be reinvented.” The world’s most advanced economies have acknowledged the indispensable value of craftmanship in preserving their living heritages.
An example of Wax painting
In Pakistan, the reasons for preserving our dying crafts are being discovered through the vacuum that they are leaving behind. The swift decay in traditional crafting skills can be attributed to the rise in extremism, societal intolerance, and violence within our communities. It is also noteworthy that teaching about indigenous crafts at urban universities has not helped us revitalize them. Therefore, there is a need to create scholarships, funding, and independent economic incentives that can be directly availed by the indigenous craftsmen and women in Pakistan. Universities and NGOs can play a part in advocacy and awareness building. For instance, the independent advocacy body, called the Heritage Crafts Association in the UK, has identified a Red List of traditional heritage crafts which are at the risk of dying. This Red List is used as a guide by the UK Government’s Craft Council to disburse the Endangered Craft Fund directly to the deserving and eligible craftspeople.
The preservation of dying craftsmanship will help safeguard the economic welfare of the indigenous crafting community of Pakistan. Riaz states that “I want this craft to live on after I am no more here. It will be a source of tremendous peace for my soul”. His technique of wax painting on silk is a heritage of Pakistan which is revered in the crafting community around the world. We are fortunate to have master craftsmen like Riaz Ahmed among us, who has the ability to teach dignified craftsmanship to us. The question boils down to whether we are committed to introducing the relevant policies and technologies which are required to safeguard this craft. It will be conducive to keep the adage “Give a man a fish and you feed him for a day. Teach him how to fish and you feed him for a lifetime” in mind.
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