Once a celebrated symbol of Islamic art and architecture, Herat’s centuries-old tradition of hand-crafted tilework is now under threat. Artisans say economic hardship, lack of financial support and dwindling interest among younger generations have pushed the craft to the brink of extinction.
At the heart of the Great Mosque of Herat, one of the city’s last remaining traditional tile workshops still operates. Here, artisans produce two signature styles of tilework — haft rang (seven-color tiles) and moaraq (inlaid tilework) — entirely by hand, from sketching and painting to firing in kilns.
“Two types of tiles are produced here,” said Omid Niknam, head of the workshop. “We prepare the plain base tiles, then proceed with the design and firing process depending on the type.”
What sets Herat’s tiles apart is the intricate calligraphy and fine detail executed in classical nastaliq script. Each piece is a product of painstaking craftsmanship. But many artisans say their wages no longer cover basic needs.
“With a monthly wage of 5,700 afghanis, how can anyone afford water, electricity or food?” said Ahmad Jan Ahmadi, a tileworker who left the profession briefly due to financial constraints.
“Prices have gone up—oil, utilities—you name it,” added another craftsman, Jalil Ahmad. “Our salaries haven’t kept pace.”
Modern tools, high-quality raw materials and proper workspaces remain largely out of reach. This lack of investment, artists say, has discouraged younger Afghans from taking up the profession.
“Every step requires focus. It’s all done by hand,” said Ali Mohammad Saboori, gesturing toward tiles he was delicately shaping. “It’s meticulous work, but there’s little recognition or reward.”
In past years, as many as 70 artisans worked in the mosque’s tile workshop. Today, only six remain. Without meaningful support, they warn, the craft could vanish altogether.
“If attention isn’t paid, we could lose this tradition,” said Bashir Ahmad Faqiri, one of the senior craftsmen. “And with it, a piece of our identity.”
