Kashmir Collection
Our ‘Kashmir Collection’ is dedicated to reviving and promoting the traditional Papier-mâché craft of Kashmir, a unique combination of art and craft and a visual representation of the rich cultural crafts and beauty of the valley of Kashmir.
Papier-mâché, also known as paper mache, is a highly skilled handicraft that involves painting intricate designs on a range of objects made from paper pulp. It has a long history in the valley and is closely associated with the arrival of Islam. According to popular culture, Mir Sayyid Ali Hamadani, a Muslim mystic from Persia, also called Shah-i-Hamadan, introduced the craft in the 14th century when he came to Kashmir with 700 craftsmen who taught the locals various crafts and arts, including wood carving, weaving, and paper mache. However, some scholars suggest that the art was brought to Kashmir by the eighth sultan of Kashmir, Zain-ul-Abidin, from Samarkand in the 15th century. Even today, many paper mache artisans claim their lineage to the artisans who came with Shah-i-Hamadan.
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A paper mache artisan painting the base colours of the design
Historically, the art of Kashmiri paper mache was referred to as Kar-i-qalamdani. This involved creating lacquered pen cases (qalamdan) with intricate hand-painted designs. This art form is believed to have originated in Iran and became popular among the Shia immigrants of Srinagar. With time, this craft expanded to include various items, including regal furniture and ceilings ornately painted with real gold. During the 19th century, French traders became patrons of this craft, and their influence is evident in the fact that the original name was replaced by the French term - papier-mâché.
The paper mache designs draw heavily from the region's local flora, fauna, and culture, with a notable absence of anthropomorphic motifs as per Shia tradition. The craft’s most prevalent designs take inspiration from nature, particularly birds, flowers, and the iconic chinar trees of Kashmir. The Mughal miniature paintings also became a part of the naqqashi designs depicting scenes from Mughal courtrooms. Traditional paper mache motifs include Hazara (thousand flowers), Gul-andar-gul (flower within a flower), Gul-i- wilayat (flowers from foreign lands), Chinar (5 pointed leaves from Chinar trees), and others. Kashmiri handicrafts stand out by exchanging motifs between different crafts, with paper mache products also featuring motifs from hand-knotted Kashmiri carpets, Jamavaar and Kani shawls. The intricately painted designs not only offer a visual spectacle but also capture the essence of Kashmir’s unparalleled beauty, carrying the collective memory of a rich and diverse craft that has traversed many lands and periods.
This classic paper mache design is called 'Gul-andar-gul', which means 'flower within a flower'. It features multiple flowers that radiate from each other and involves intricate detailing done with a paintbrush.
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The creation of Kashmiri paper mache products necessitates a great deal of time and precision. This intricate process comprises two distinct stages, each requiring the expertise of skilled artisans with specific skill sets. The first process, known as sakhtsazi, involves making the paper mache base of the product. This base is then sent for naqqashi, where intricate designs are drawn and painted, and the final product is polished. The sakhtsazi process is very detailed and involves preparing the paper pulp by soaking shredded paper and mixing it with rice paste. The pulp is then layered step-by-step on clay moulds, allowed to dry, and finally demoulded from the mould. The rough edges of the dried product are then softened using either a water stone or a walnut wood brick, depending on the type and shape of the product.
A naqqash adding details to Chinar leaves painted using the Vathlavun (embossing) technique.
After production, the item undergoes a process called pishwaloon. This involves applying a mixture of chalk powder, water, and local glue blocks called saaresh, to the surface using a porous burnt brick called a kurkout. The purpose of pishwaloon is to make the surface smooth before the naqqashi is done. Women artisans are often the ones who perform this task. After being smoothed out, the product is sent to a skilled artisan known as a naqqash, who uses a handcrafted brush made of goat or cat fur tied onto a quill formed from an eagle's feather to paint intricate designs onto it with great precision.After the painting is finished, the naqqash applies a protective layer of lacquer to the product's surface to preserve the artwork for future generations. The naqqashi artisans are masters of their craft, able to create intricate patterns with remarkable precision without relying on mathematical instruments. Their symmetrical designs are painted freehand, a testament to their exceptional skill and expertise. Each naqqash also specialises in specific designs or painting techniques, such as Vathlavun (embossed work) or Astar work (white base for floral designs).
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In a dimly lit corner of their humble abode, a naqqash and his wife are hard at work. Their beautiful paper mache creations are a testament to the power of art, which can flourish in even the humblest of settings.
The paper mache craft was highly esteemed and considered more fulfilling than a high-paying job during its heyday. As a result, many locals began to learn the craft despite not having any ancestral ties to the original craftspeople. Mastering this craft demands years of rigorous training, given the immense time and precision required to achieve flawlessly intricate designs. Traditionally, paper mache products were crafted in a karkhana (workshop) under the guidance of an Ustad or master craftsman. Today, artisans work from their homes with the help of family members. Many of these traditional artisans come from a long line of craftspeople, with their fathers or grandfathers involved in either the same or a different local craft. As a result, many never received a formal education and joined the karkhana at a young age. Unfortunately, with the decline in popularity and demand for the craft, these artisans struggle to provide for their families and keep their art alive. Their lack of formal education leaves them with few options for earning a livelihood. In addition, many have limited exposure to the outside world and are vulnerable to exploitation by traders and exporters. Consequently, the art form has become increasingly less appealing to upcoming generations, resulting in a declining interest in learning it.
Svatva aims to empower these artisans and revive this dying craft through its ‘Kashmir Collection’, which features both custom-made
designs and traditional paper mache patterns created by skilled paper mache artisans from Kashmir.
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