By Abdul Rafay Afzal
Multani ceramics have long carried the visual memory of southern Punjab. Their turquoise glazes, floral geometry and disciplined patterns reflect centuries of artistic movement across China, Persia, Iran and the subcontinent. Yet the real strength of this tradition lies not only in its history, but in its ability to survive through renewal.
In the work of Nauman Mirza, Multani craft is not treated as a museum object or a decorative souvenir. It becomes a living design language. His practice draws from the discipline of traditional blue pottery workshops, where skill is developed through observation, repetition and correction under the Ustad-Shagird model. This background gives his work a strong technical foundation, visible in the controlled lines, balanced patterns and refined ceramic surfaces.
What makes his approach distinct is the way he moves traditional craft into a contemporary exhibition setting. His vessels, panels and lighting pieces are arranged with careful attention to space, light and viewing angles. The result is not just an exhibition of handmade objects, but a study of form, material and process. Viewers are encouraged to look closely at the curve of a vessel, the depth of a glaze and the rhythm of repeated motifs.
Mirza also brings transparency to the making process. By showing documentation of clay preparation, drying, glazing and firing, he reminds the audience that craft is not merely manual labour. It is technical knowledge, cultural memory and artistic decision-making. This approach gives dignity to the artisan and presents the workshop as a place of research and innovation.
A notable part of his practice is the use of vegan and cruelty-free alternatives in camel-skin-inspired lighting. This allows him to preserve the visual language of heritage design while responding to modern ethical concerns. It shows that tradition can adapt without losing its identity.
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Through ceramics, exhibition design and responsible material experimentation, Mirza demonstrates that heritage does not need to remain fixed in the past. It can evolve, speak to new audiences and remain culturally powerful. His work presents Multani craft as a living tradition rooted in memory, shaped by discipline and open to the future.
Abdul Rafay Afzal is an International Journalist, Lawyer, Global Affairs & Policy Advisor. Editor in Chief of The Advocate Post an International magazine.
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