_edited.png)
.jpg)
Multan, known in ancient times as #Moolasthana, is a land steeped in history, tracing its legacy back nearly 5000 years. Positioned between the Hakra, #Satluj, and Sindhu rivers, this ancient city was the cradle of the Vedas, where the Aryans settled, embedding their culture deep into the region's history. With a documented history spanning over 2500 years, the city’s significance is as old as time itself.
Historically referred to by various names—Kasyapapura, Hamsapura, Bagapura, Sambhapura—Multan's most enduring title, Moolasthana, translates to "the original place." It was once the seat of the magnificent Sun Temple, symbolizing its importance to ancient Hindus and other civilizations.
Early references in sacred texts such as the #Mahabharata and #Ramayana highlight the prominence of this city and its sacred Sun-Idol, housed in the Phaladpuri Temple of Vishnu. Though the temple no longer stands in its original form, its remnants at the citadel still speak volumes about the city's spiritual and architectural grandeur.
The drying up of the #Hakra River transformed this once fertile region into what is now the Cholistan Desert, known as 'Rohi' since the time of Sufi Saint Khawaja Ghulam Fareed. This arid region holds a wealth of cultural and historical assets, with traditions that echo back to the ancient Hakra Valley Civilization. Pottery-making techniques and motifs that are still in use today reflect the rich material culture that has been passed down through generations.
Decorative Art, Culture and Architecture of Moolasthana
Multan is world-renowned for its decorative building crafts, a hallmark of its architectural and artistic heritage. From #naqaashi (fresco and wall paintings), #sheeshakari (mirror work), and #kashikari (tile work), to intricately designed wooden ceilings and doors, the craftsmanship is nothing short of exquisite. The rich use of materials and techniques has left its imprint on the city’s religious and secular buildings.
While little is documented about earlier Hindu and Buddhist structures, it’s plausible that Multan had access to ancient knowledge of wall paintings as described in the Sanskrit text *Vishnudharmottara* (5th/6th century CE). The city's medieval prominence likely brought these artistic influences into the fold of its architectural tradition.
However, from the 10th century onwards, it was the #Sufi saints that shaped Multan’s spiritual and material culture. The arrival of these mystics—particularly the Suhrawardi Sufis—had a far-reaching impact, not only in South Punjab but extending into Sindh and Northern India.
Their shrines, like those of Baha-ul-Din Zakariya and Rukhn-e-Alam, remain architectural marvels that blend simplicity with a sophisticated design language, ornamented with tile work, frescoes, and intricately carved wooden doors.
The shrine of Baha-ul-Din Zakariya, built in the 13th century, stands as a testament to the refinement Multan's architectural vocabulary had achieved. The octagonal dome, decorative kashikari tiles, and pinjra (lattice) work embody an era of artistic mastery that influenced South Punjab’s architectural style.
Symbols in Cultural Design: Tree of Life and Ham-a-Gul
The symbolic use of nature is central to Multan's artistic identity. The Tree of Life, a common motif in kashikari (tile work) and frescoes, represents celestial and terrestrial life.
Another significant motif, Huma-a-Gul, showcases pairs of fruits and vegetables, symbolizing unity and togetherness—a design unique to South Punjab. The Mango Tree and variations of Huma-a-Gul, such as flower pairings, further demonstrate the creativity and fluidity of these traditional designs, which often carried spiritual meanings.
In keeping with the Sunni sect of Islam, religious buildings in Multan abstained from figurative depictions, relying instead on floral and geometric patterns to convey deeper symbolic meanings. However, secular structures, such as Jain temples in the old walled city, feature human figures and depictions of deities, adding to the region's rich visual diversity.
#Colors also played a critical role in the art and architecture of Multan. Cobalt blue was believed to represent the night, azure for the day, and white for purity and peace.
The shrines of Baha-ul-Din Zakariya and Rukhn-e-Alam used these colors to evoke spiritual reflection through their intricate designs.
Other motifs such as the watermelon, the banyan tree, compositions with roses and different floral patterns and geometric designs can be found in the traditional craft work embellishing the region’s historical buildings.
Influence of Sufism and Moolasthana Culture
The spiritual and material culture that emanated from Multan and Uch Sharif, another key Sufi center, left an indelible mark on South Punjab's ethos. The Sufi philosophical tradition championed inclusivity and egalitarianism, encouraging people of all faiths to find solace and comfort in their teachings.
The Sufi poets, particularly Khawaja Ghulam Fareed, whose words resonate through the desert of #Cholistan, propagated a worldview that emphasized unity, compassion, and spiritual transcendence.
This philosophy permeated not just through religion but into the cultural fabric of the region. From music and dance to storytelling, South Punjab’s intangible cultural heritage is a treasure. The desert tribes' customs, rituals, and crafts, including the exquisite #ralli (patchwork quilts) and #falasi (wool carpets), continue to enrich the cultural landscape of the region.
Textile Traditions of South Punjab
South Punjab is particularly famous for its vibrant and distinct textile crafts, where bright colors like red, maroon, fuchsia pink, and yellow evoke the lively spirit of the region. These colors, often derived from natural dyes, reflect the dynamic landscape that surrounds the people. The region’s textile heritage includes a variety of traditional techniques, from weaving silk and cotton to creating everyday items.
Among the most cherished embroidery techniques is #chunri or #bandhani (tie and dye), which is widely practiced in the region. Another unique form of embroidery, #chikan-kari, originating from Dera Ghazi Khan, has gained recognition for its detailed and delicate patterns.
The small village of Tibba Walla near Dera Ghazi Khan is especially famous for its chikan-kari work, keeping this ancient craft alive.
Conclusion
Moolasthana, or Multan, is not just a city but a living repository of the cultural and spiritual evolution of South Punjab. From its ancient Hindu and Buddhist past to its later Sufi influences, Multan’s architectural and artistic heritage reflects the region’s historical significance and its enduring cultural legacy. Today, Moolasthana continues to inspire, offering glimpses into a world where art, spirituality, and craftsmanship converge, leaving behind a rich and diverse cultural footprint.
コメント