‘The art will die with us’: Srinagar’s papier-mâché craftsmen battle extinction
Srinagar, Jan 29: In a dimly lit workshop filled with the smell of paint and glue, 65-year-old Nasir Ahmad Mir sits cross-legged on the floor, surrounded by delicate hand-painted boxes and stars.
"The art is dying. We are struggling to keep it alive," he says with a sigh.
Mir, co-owner of Akhter Mir and Brothers Pvt. Ltd at Zadibal, has been associated with papier-mache work for over 45 years.
"My grandfather started this work, and I am the third generation," he explains. With a growing passion for the ancestral craft, he decided to pursue it at age 17, learning from master craftsmen Haji Ghulam Mohammad and his neighbour Abdul Majid.
But papier machie, once a thriving art form in Kashmir, is facing a precipitous decline as younger generations refuse to carry on the legacy due to meagre returns.
"Artisans work from morning till evening and rarely earn Rs 8,000-10,000 per month. Rising inflation adds to the struggle we face in our daily lives," Mir says. "Our children are pursuing education and taking up other jobs. We don't want our children to continue with this art."
Many artisans are switching to new professions, and no newcomers are joining the trade.
"Those who have already spent decades in this work and have reached the age of 60 or more cannot look for other jobs, such as labour-intensive work, so they choose to continue since they have no other option left," he adds.
Mir's frustration reflects what he sees as failed government policies and inadequate support for artisans. "Exhibitions rarely help us, as maximum earnings are spent on travel expenses. There is no system of pensions for us like others get after retirement, leaving us helpless," he says bluntly. "The art will vanish someday due to negligence and lack of government support."
Papier machie is a centuries-old art form deeply interwoven with Kashmir's traditions and culture. Its emergence accompanied the advent of Islam in the region, introduced by Sufi scholar Mir Sayyid Ali Hamadani, who arrived from Persia with skilled craftsmen in the 14th century. It originally gained popularity under its Persian name "Kar-i-Qalamdan."
Based on paper pulp and made into highly decorated, colourful artefacts, the craft involves two main aspects: Sakhtsazi (molding) and Naqashi (painting). Paper machie is entirely handmade, untouched by machines.
The demand for papier-mache has been declining since the 1990s. "Repeated shutdowns, the abrogation of Article 370, and the Pahalgam attack significantly reduced tourist flow and affected almost every sector in Kashmir," Mir explains. "Our work sustains due to tourism. With its decline, the work is losing its base."
He notes that while they usually receive bulk orders around Christmas, this year's demand was almost negligible due to the recent attack. "Wholesalers and retailers who purchase from us faced a huge drop in sales this year, ultimately affecting us. Items from previous years worth lakhs are still pending and unsold."
However, when tourists do arrive, they purchase papier-mache items enthusiastically, briefly reviving the craft.
"With every passing day, the number of artisans is declining, causing the slow death of this art," Mir says. "Today, only 2,000-3,000 people are associated with this work. Earlier, it supported thousands of families throughout the region."
Scanty earnings and diminished market demand have forced thousands to withdraw and seek other employment to support their livelihoods. The constant struggle has become generational trauma, with younger generations deciding not to pursue the ancestral art.
"Various training programs are conducted at different levels, but these fail to protect this dying art," Mir observes. With rising costs of raw materials and persistently meagre earnings, artisans face enormous distress and loss of hope.
He also points to changing cultural preferences. "Western goods are preferred over traditional handmade paper machie items in weddings and other occasions, causing significant loss to this cultural heritage."
Despite efforts to introduce new ideas and innovations, the prognosis remains grim. "Papier-mache has an uncertain future. If income opportunities increase in this field, many youngsters will join and continue with this art. Otherwise, it will die with us," Mir warns.
Yet even as the craft faces extinction, Mir remains defiant. "As long as I am alive, this art will live through my hands," he vows—a promise that may outlast neither the man nor the tradition he struggles to preserve.
By: Janat Bazaz
