(MENAFN- Tribal News Network)
PESHAWAR: The city of Peshawar, one of the oldest living cities in the region, boasts a rich and diverse cultural heritage. Located at the crossroads of Central Asia and the Indian subcontinent, the city has long served as a melting pot of civilizations and cultures. Its strategic location along ancient trade routes, including the famed Silk Road, established Peshawar as a vibrant hub for commerce, knowledge, and artistic exchange.
In centuries past, artisans from various countries would journey to Peshawar to showcase their craftsmanship and introduce their artifacts to the local community. Cultural activists and intellectuals suggest that the name Peshawar is derived from the term Pesha War, meaning "City of Artisans" or "Skilled People". As art and craftsmanship flourished, various bazaars were named after specific trades or skills, such as Bazaar-i-Misgaran (Coppersmiths' Bazaar), Reti Bazaar (Ironsmiths' Bazaar), Batair Bazaan (Quail Market), and Chik Sazaan (Bamboo Blinds Bazaar). The main bazaar, Qissa Khwani, translates to the "Storytellers' Bazaar".
Wax painting has been a renowned art form for centuries, introduced to the subcontinent during the Mughal era. This ancient craft originated in Kabul and later made its way to Peshawar.
Linseed oil, refined limestone, and powdered colors are among the key ingredients used in creating this art form. The wax is extracted by heating flax seeds over a fire and is then stored in a container for later use in painting.
Riaz Ahmad, 73, has been practicing wax art for the past 60 years. Born in Peshawar, he says he inherited the skill from his forefathers. His grandfather, Sher Muhammad, owned a wax painting shop in Shillong, a city in Meghalaya, India, before Partition. After Partition, the family migrated to Pakistan, where his father, Meeran Bakhsh, continued the craft.
Also Read: Green Pakistan Program Falls Short: Over 1 Billion Saplings Missed from Nationwide Target
“I remember watching my grandfather create wax art,” Ahmed recalled.“In those days, there were no colors. My grandfather would sift mud to use in his paintings. Later, they began incorporating abrak (silver foil paper) into the designs. Now, we use natural colors. These muted tones are more pleasing to the eye compared to glittery ones,” he said, gesturing toward a peacock painting hanging by a window in his house.
The peacock design, he added, is over 600 years old, dating back to the Mughal era.“It was known as Roghan art in those times,” he explained. The artist creates tablecloths, picture frames, handkerchiefs, women's shirts, and scarves. His grandfather and father also used to paint curtains with wax, as the art was in high demand during their time.
"Each piece takes two days to complete. After the wax painting is done, colors are applied to it. The piece is then left to dry in the sun for two days. Once sun-dried, it becomes so durable that it can even be washed without the colors fading," he added.
A member of the Qaumi Dastkari Council of Pakistan, Riaz was awarded the Medal of Excellence on March 23, 2012. The Ministry of Tourism and Culture also selected him to participate in an exhibition held in New Delhi, where he won the UNESCO-CCI (Crafts Council of India) 2004 Seal of Excellence for Handicraft Products in South Asia, competing with 11 participating countries. Additionally, he has showcased his work in exhibitions held in Afghanistan, Sri Lanka, the Maldives, Nepal, and Bangladesh.
In the past, the government made efforts to revive the city's rich art and culture both individually and collectively. One such initiative was the establishment of the Artisan Village in 2012 by the Khyber Pakhtunkhwa government. Located in restored cells within the historic Gor Khatri Archaeological Complex, the project aimed to revive the city's dying arts and crafts.
At the Artisan Village, trainers worked to impart skills to trainees. There were 18 master trainers, each mentoring two trainees. Riaz Ahmed was one of the master trainers, and he had two trainees, including a woman.
The project completed the first phase, lasting three years. Since the Artisan Village was located within the historic Gor Khatri, a cultural landmark of Peshawar, the Archaeology Department of Khyber Pakhtunkhwa had expressed interest in KP, and it had come forward to fund the project in the next phase. However, this did not come to fruition.
The woman trainee got married and was unable to complete her training, while the male trainee secured a job with the municipality. As this was their family's traditional craft, Riaz's cousins were also involved in the work. However, due to the lack of government support, they eventually abandoned it as well.
Riaz Ahmed owned a shop in Peshawar's Saddar area during the days when foreigners frequently visited the city in more peaceful times. However, as the law and order situation deteriorated due to terrorism, he was forced to close his shop and relocate to Islamabad, where he continued his work at Lok Virsa for 27 years.
Although Riaz was a regular participant in the annual Lok Virsa Mela, which is held for 10 days in Islamabad, he was unable to participate in the exhibition this time due to the high stall fees.
“I have grown old, and my hands now tremble. Although I still receive orders, I can't work for long as I get tired quickly. I had only a small number of pieces to exhibit this time, and the high stall fees prevented me from participating۔ Each passing day becomes harder due to the rising prices, but a skilled person can still make a living," Riaz added.
“This art still supports me, despite the price hikes, and I can earn a living. I feel happy that, by staying in this field, I was able to educate my children and marry them off,” said the aging artist. He has passed this art on to his son, Fayyaz Ahmad, 50, who now creates wax portraits in Islamabad as the law and order situation in Peshawar is unfavorable and has deterred tourists from visiting the city.
The artist said that the government should organize training workshops to help him pass on this skill to others.“However, this centuries-old art cannot be learned in just a few days; it requires time and dedication,” he added.
He thought more people should learn this art to ensure its survival. Revitalizing the Artisan Village Project and integrating this skill into the initiative would be a step towards passing these techniques on to the younger generation. He urged the government to provide all artisans with a platform where they could showcase their work, receive orders, sell their pieces, and access international markets.
To Riaz, age is just a number. He believed that people become old only when they stop working.“Everyone must die eventually, but in my view, a person who stops working is already dead,” he said.
The optimistic artist's only concern is the lack of awareness about the value of art.“People should not only learn crafts but also recognize and appreciate the work of those who practice it,” he says.
MENAFN14122024000189011041ID1108992839