The Fading Craft
One of the mementos which I treasure is a circular wall hanging made of papier-mâché with beautifully and very colorfully painted symmetrical design which was awarded to me on the 28th annual day of the Sher I Kashmir Institute of Medical Sciences (SKIMS) in December 2011, where I was the guest of honor and delivered an oration. This made me a very proud person since after becoming a cardiologist, it was my earnest desire to join SKIMS as a faculty which eventually I could not. Whenever I look at this memento, I become very nostalgic.
It is now 13 years since I have it, its colors, shine, durability and shape has not changed at all. This is the beauty of papier-mâché products. Interestingly this name is a French phrase which means “chewed paper” that refers to a craft technique that involves moulding paper pulp into various shapes. Historically like many artistic things of the Asian region it has a link with China. It is during the Han dynasty around 200 BC when the first use of this product is reported and they used to make items such as helmets, mirror cases, ceremonial masks etc. from it. The use of paper also has its roots in China which dates back to 200 AC in China. The use of papier-mâché has become universal now. It is now used in various forms in Europe, USA and even Latin America besides of course Asia.
In Persia, papier-mâché has been used to manufacture small painted boxes, trays, shelves and cases. From the 16th century onwards, papier-mâché book bindings were preferred to leather ones because the paint held better on the paper. This continued at least into the Qajar period, particularly in Tabriz and Isfahan. The Louvre Museum in Paris owns a leather and papier-mâché board with a painted scene, and a papier-mâché board with painted and varnished birds and flowers.
Papier-mâché reached Kashmir from Persia like many other arts in the 14th century. It was brought by the saint Sayyid Ali Hamdani who was accompanied by many other artists who were also well-versed in other handicrafts such as woodcarving, copper engraving and carpet weaving. They made Kashmir their permanent home. The process of making papier-mâché is rather complex. The skilled artisans involved with this painstaking process are called papier mâché makers.
The materials involved with this process are discarded paper, cloth, straw of rice plant, which are mixed and made into a pulp and kept for several weeks and then taken out and dried. This is then applied and shaped into colourful artifacts generally in the form of vases, bowls, or cups, boxes, trays, bases of lamps, and many other small objects. These are made in homes, and workshops, in Srinagar, and other parts of the Kashmir Valley. They are marketed primarily within India, although there is some international market also. In the past there used to be a practice of drawing colourful paintings on wood on household furniture such as ceilings, bed frames , doors and windows. This art form was called, kar-i-qulamdan as it was made as pen holders and a few other personal trinkets. Another term used for the art was kar-i-munaqqash as it was crafted on smoothly finished surfaces created using paper pulp or on layers of polished paper. Even treated and stretched leather was used for the purpose. Starting with decorating jackets of books, the art covered many items such as tables, table ware, bangles, lamp stands, cups, plaques, panels, screens and cabinets. This craft has been primarily pursued by the Shia Muslims.
During the Mughal era, its use was extended to include many items of home furniture that were made in Kashmir. Many notable objects of this type are exhibited in museums in many parts of the world. The basic method followed was to apply the papier-mâché on wood work, and one such work can be seen in Kashmir at the ancient Madin Sahib Mosque built in 1444, the ceiling of the Shah Hamdan Mosque and on the interiors of the domes in the Shalimar Garden of Srinagar. This tradition of using papier-mâché or pulp on wood work to be colourfully painted with different designs is very much in practice even today. The brushes used for the painting, the papier-mâché items are made of hair of goat, cat or other domesticated animals. The practice was to use “craft mineral, organic and vegetable colours known for their safety and durability.
However, with the tedious labour involved many of the artisans in this industry are going in for less work intensive jobs and its popularity is on the decline unfortunately. The papier-mâché industry in Kashmir faces many challenges, including a decline in demand, inflation, and the availability of raw materials. People have a tendency to buy machine made products which are much cheaper but nowhere in comparison to the age-old decorative pieces of delicate art. The quality and large size products are quite expensive.
Actually, some of my Shia Muslim patients from the Zadibal area of the down town who have been involved with this industry for generations come out to say that they are struggling to keep this sector going. This is because their children have very little interest in continuing this family tradition. It is sad but true that the five centuries old art of Kashmiri papier-mâché is dwindling down.
Prof Upendra Kaul, Founder Director, Gauri Kaul Foundation
