In the race towards modernity, we are guilty of forgetting that Asia’s ancient arts and crafts were the true and first leaders of the Renaissance, of the Modern Art movement and even the Industrial Revolution. Choosing to protect and honour them is a must if Asia is to lead the world in preservation of half the world’s heritage.

There are thousands of glossy coffee table books and magazines that extoll the virtues of precious handicrafts, in words and pictures. Bringing all of Asia to the world. But the stark reality seems to be quite different. Perceived as a battle to retain and build upon the wondrous world of ancient handicrafts, rather than a matter of national pride, most countries will tell you quite openly that mass produced commercial goods have put their delicate skills out of business. Yet, can we blame progress? This would be akin to blaming the steam engine for the woes of the horse carriage owners.

The idea that perhaps Asia doesn’t care enough about preserving these traditions, at the sacrificial altar of modern-day progress, is one that’s been written about for several decades. The remedy lies in public-private partnerships. There are plenty of industrialists with a philanthropic bent of mind who are doing their bit to conserve these dying arts all over Asia, but perhaps Asian governments should take a leaf out of the cultural books of their European counterparts in giving a certain status, recognition, legal sanction and protection to all these collective arts which so richly define the diversity of Asia. And most importantly, devise modern methods to monetise and popularise them once again.

There are few countries whose arts and crafts tradition is as rich and varied as the one in India. But India’s woes with the decline of handicraft began when there was a colonisation of India’s precious handloom industry. Weavers spinning the Gandhian fabric of khaki were failing to make enough money and were sacrificed to mechanised industrial looms. In the 60s right through to the 80s, independent India once again saw the resurgence of handicrafts in India, where artisans were given encouragement and subsidies for their once-marginalised crafts. There are presently over 20 million craftspersons in India, but their patronage is hardly worthy of mention. From poor and erratic support, bad infrastructure, a lack of strategy in how to compete with industrialised goods to discrimination by state governments in raw material, the average craftsperson despairs of ever receiving justice, recognition or support, much less pass the art down to the next generation. Whether they are fabric weavers, palm leaf weavers, sandalwood carvers, metal workers or ‘durrie' workers, the government and NGOs must ensure that there is a balance in education, vocational training skills and modern subjects like marketing and technology so that they may not suffer at the hands of commercialisation and capitalism. So far, however, sadly it seems like not enough is being done in enough, as crafts are receding into hazy horizon.

The idea that perhaps Asia doesn’t care enough about preserving these traditions, at the sacrificial altar of modern-day progress, is one that’s been written about for several decades. The remedy lies in public-private partnerships.

Tajikistan, another well-known gem of arts and crafts had its own place in the sun in its heyday. Today however, this post communist country has other problems to focus upon, leading to a further decline in its handicraft industry. Tajiks have been making fabrics, utensils, musical instruments, carpets, furniture and jewellery from ecologically pure raw materials. And while the Tajiks have done a better job at passing down the arts from generation to generation, than other populated countries like India and China, they too are feeling the pinch of fast moving commercialisation. The advent of Islam brought a positive change to their industry when many mosques and palaces demanded carvings in Tajik mastery. But today, cheap plastic goods and replicas are everywhere and the ancient Tajik weaver, potter and mason are finding that there is little room for preservation and continuation of their proud traditions.

Malaysia and Indonesia share a proud tradition known as ikat, which a tie-dyeing technique that is adopted before weaving. Practised almost universally, it came to Malaysia and Indonesia via the Silk Road. UNESCO has declared it an Intangible Cultural Heritage in dire need of urgent safeguarding. But this art with its long history has still not received the protection and support it deserves. To be regarded as a National Heritage is the hope nurtured by its volunteering protectors. While the two countries have made concerted efforts towards protection under UNESCO, they believe that the majority effort must be made on home soil. An action plan along the lines of a PPP will be the only one that will prevent ikat from disappearing from shelves across the two nations.

China with its giant footprint on technology, industry and innovation has dealt its handicraft industry a big blow. Its folk handicrafts were several and distinct, spread across the length and breadth of the country, but now face near extinction, thanks to the country’s march towards all things modern. Thousands of years of heritage are facing a struggle, supported by its well-meaning champions but not much can change unless the omnipotent Chinese government steps in to help. From sugar figurines and Chinese popcorn to wheat straw knitting and tile carving, there’s a entire Chinese history that’s going out of style, that will cease to astonish future generations someday soon.

In the United Arab Emirates, pottery was an age-old revered art thanks to the deposits in the Hajar Mountains. But today, the advent of the ubiquitous plastic and its related products has ensured that potters are a thing to be experienced during a cultural excursion. In fact, there are few of them remaining in the UAE. Coiling moist clay into pots is an art that few practise now and one of the last remaining craftsmen of the trade are to be found in Ras Al Khaimah. If unglazed pottery could withstand temperatures of over 500 degrees centigrade, there is surely a place for pottery using modern day glazing techniques. Besides the obvious use for homes, this craft travelled all the way with sailors across the oceans, holding their potable water.

The important next step will be to rebuild pan-Asian ancient industry and fit its uses into the modern world, by reflecting on how local resources and craftsmen will not just preserve the nation’s history but will also make it a working part of the galloping future.