The traditional arts of Afghanistan comprise a body of work, which heretofore has not been adequately documented. This thesis is a survey, photographic documentation and aesthetic analysis of these art forms.

Research in the arts of Afghanistan was undertaken during the years 1965-1978. Every effort was made to consider primarily those arts produced in traditional settings such as rural villages, in nomad camps and by others who retain tribal identities and lifestyles. Interviews with artisans, bazaar keepers and officials along with phenomenological investigation of the arts provided the great majority of the data. Every region of Afghanistan that was accessible by car was visited.

Tribal groups documented are: Pathans, Turcoman, Hazara, Aimaq and Nuristani with some mention of Uzbek, Brahui and others. Historic precedents of the arts along with cultural borrowings and invasions are reviewed. Included are metalwork, stonework, leather, and ceramics along with textile traditions. Typical examples was a more significant criteria than beauty. Every effort was made to choose items not geared to the contemporary tourist or export markets.

Almost all the photographs are the work of the researcher with the exception of the section on historic influences and as noted.

This thesis examines the body of Afghan arts as an entirety and maintains that the arts of Afghanistan are a significant collection deserving of consideration as the visual aesthetic culture of the country. Questions of what a visual art culture is and how it can be defined are discussed.