Kashimiri Papier Mache Art: a Unique Dying Art Form

Kashmir has been wrought in conflict and upheaval for decades now, but its wonderful valleys give us a unique gift of native craftsmanship – Papier Mache art. Kashmir’s rich cultural past is often overlooked due to its troublesome political past. Its handicrafts and shawls (from the famous Pashmina wool) are renowned worldwide - not just because of their exotic and luxurious nature, but also because of the social aspect – it has given employment to generations of artisans who would otherwise be unemployed.

Mughal rulers were fond of Papier Mache art and spread it across their kingdom causing it to attain international status and diversity. Its foundation base is paper pulp which is beaten to produce a mould, the final product being colourful vases, bowls, cups, boxes, and trays. These are made in homes of Srinagar with warmth, and marketed primarily throughout India. It also has a significant international appeal. It has been handed down since generations and has been particularly prevalent within the Shia community, who have been very expressive about their attachment to the art. “This wealth has been handed down to me by my father who inherited it from my grandfather” and so on.

The first Paper Mache industry was established by Sultan Zain-ul-Abedin in 1417-67 AD after his return from imprisonment in Samarkand. He learnt this craft in prison, in order to pass his time. He brought with him artisans of various skills to develop crafts and introduce new trades in India. These artists were also well-versed in other handicrafts such as wood-carving, copper engraving, and carpet.

The process of creating this art requires endurance and concentration, to create something truly breathtaking. The humble process involves two stages. First, the raw material from which papier Mache art is created – paper pulp is soaked into water for three to four days. The main goal is for the pulp to acquire a uniform consistency which is done by means of a wooden pestle and once it does, it is left to dry. This is then mixed with a local adhesive known as Atij- made from rice. It is important to note Kashmir’s heavy reliance on rice – a staple food and paper. This mixture is then made to sit in the desired mould made of clay or wood. This is then given to the women of the house to smoothen it. Here, we get to see how the roles of both men and women are beautifully interwoven into making Papier Mache. The second stage involves the application of a coat of Saresh (lacquer) on the object, followed by another coat and rubbing the object on a Kirkut, which is over burnt brick. The Kirkut is followed by hand rubbing.

This product is now handed over to the artisan, the Naqash. The Naqash play an extremely important role in giving the beauty and shine that it is known for. This process, called Naqashi, involves painting the moulds and the paint used may have a metallic quality which adds to the illuminated feel. Gold is used and an “egged stone’’ is applied to give the products a natural lusture. The addition of gold shows why papier mache is mainly sold in the luxury market. The Naqash are skillful professional painters, and are not given nearly as much credit as they deserve. They make each piece of papier mache unique and individualistic. The latest trend in

Kashmir Papier Mache is finding the Naqashi being done on the brass vases. The craft has applications across the world too. In Egypt, papier mache was used to make coffins and death masks. Small painted boxes, trays and cases were applications in Persia. Closer to home in India and Japan it was a decorative element for armour and shields. Kashmiri papier mache is a 600 year old craft that is dying a silent death. Various measures are being taken to prevent this. The generation of artisans trying to preserve and cherish this craft has already been mentioned.

That being said, let us look at some of the threats that this age-old art is faced with, in the modern age. The craftsmen responsible for making and carving such intricate craft have been facing a threat from newer technologies. They have a poor exposure to newer technologies and low market intelligence. They also reap a low capital income and newer, more improved mechanical methods are threatening to overthrow manual labor and thus render these artisans jobless. There is pressure of “keeping up with the ages’’. Their older designs and work don’t have as much of an appeal as before.

In conclusion, to combat this, artisans have to be put in training programmes that teach them how to use e-commerce to market their products. This would be highly effective as it would be far reaching and flexible. NID (National Institute of Design) is one of the premier institutions that is helping them achieve this goal. The Kashmiri government has recently included papier mache art in the school curriculum as a measure of preserving the art and training youth in the traditional art. The government has also promised a steady income so that practitioners can carry on with their trade. Although it is a gradual process, with the efforts of the Kashmiri government, it can be hoped that this art form and its practitioners get the recognition they deserve.