Comparison between prehistoric pottery shards and pieces from the pre-war period indicates that the basic shapes and designs of Afghan pottery changed little in 5,000 years. Glazes were rare and no noteworthy regional styles developed, with the notable exception of that of the hillside village of Istalif, just north of Kabul, once known for its subdued blue and white pottery decorated with unique black incised floral decorations and bird and animal motifs.

Unfortunately Istalif has been in the wrong place too many times. Thought to harbour dissidents by British forces, it was burned to the ground in 1842, killing an estimated 4,000 inhabitants and demolishing the kilns. Rebuilt, Istalif became the tourist town of the 1970s and the site of the king’s summer house. There was a swimming pool on a hill with a pump to bring water from underground springs. Located only 40 kilometres from the capital, Istalif was one of the contested areas that changed hands between the Mujahideen and the Taliban during the 1990s. Once again the kilns and houses were destroyed and the people scattered.

Today Istalif is in the process of being rebuilt. The remnants of houses clutch the mountainsides and roads wind up a hill lined with the shells of shops which once sold handicrafts to visitors. The reconstruction project aims to rebuild Istalif ‘holistically’. Numerous NGOs are working to recreate the town with its traditional kilns and woodworking shops, including the most up-to-date town planning to encourage its residents to return.

The potters of Istalif have for centuries worked from their homes. Training started at five years old. Often the grandfather was the manager while the women did the decorations. To date only a few families have returned to Istalif to make pottery but more are expected to return to rebuild their homes. Yet sadly the care once taken when applying the dark and light blue and creamy white colours or applying the glaze has all but disappeared. CHA Gallery in Kabul is currently the only buyer for these pieces, and without better quality and more care in design the hopes for large export shipments and the chance of this craft surviving is low. Potential buyers have been identified, but until the quality returns to at least pre-war levels there will be no orders. Previously the glaze came from Germany but the materials used now are poor and leave an uneven sheen. The brown and orange colours are achieved by mixing the glaze with highly toxic liquid taken from car batteries, which constitutes a potential health hazard.

Afghanistan is rich in clays that can be used for pottery, but to date there has been no mapping of clay-rich areas. There is potential for the Kabul Polytechnic Institute in collaboration with skilled visiting ceramics engineers to research and map the best areas in Afghanistan for this resource.

Agnieszka Wojiek from the Academy of Fine Art in Wroclaw, Poland, is currently seeking sponsorship to assist the potters of Istalif including the mapping of clay rich areas. According to Agnieszka, in order to improve quality for export a new style of kiln needs to be designed. In the past the bowls were fired one on top of each other, with a three-legged prop in between. This was not only unsightly but also unhygienic in the event that the bowls were used for food since the unglazed part retained bacteria. A higher firing temperature is needed, but as there is no electricity in Istalif, either generators or a better-designed heat-retaining kiln will be necessary.

Before the wars shopkeepers gave artisans credit over the winter months. Constantly in debt, the families relied on the generosity of the merchants. Micro credit, co-operatives and better kilns which can work all year round would solve the problem of indebtedness. But money is needed to rebuild the kilns, buy quality glaze and establish a centre to train groups of potters. Hopefully potters from around the world would come to such a centre to exchange creative ideas and techniques. Istalif is currently in ruins and has few amenities, but the commute from Kabul is only one hour. The training centre could later be used as a work place, display area or shop.

Artists interested in working with the potters of Istalif should contact CHA Gallery of Fine Arts and Traditional Afghan Crafts in the first instance as it has an ongoing commitment to promoting crafts.