Namda Art of Kashmir: Reviving the Heritage of Handcrafted Rugs

Floor sitting is the most basic feature of any traditional life in Kashmiri homes, whether rich or poor. Cultural ethics also permit guests in the region to sit on the floor. But since the winters used to be very harsh, the activity of sitting on the floor was not quite comfortable. The woolen rugs, therefore, came into existence- the namdas and the gabbas. Traditionally, the gabba was made from second-hand household textiles; this means that worn materials get a new lease on life. The namda follows as a purposeful innovation for added warmth and comfort.

This room is for floor seating, like in most oriental-style rooms of these traditional Kashmiri houses. The paintings mostly show floor-sitting royalty: cylindrical pillows draped in expensive fabrics. Underneath such expensive carpets upon which the kings sit and rest are floor coverings necessary for the harsh and cold climate of Kashmir: on some occasions, the mercury drops to zero.

Namdas and gabbas were originally made of wool for warmth and comfort. Transcending their original usage, these rugs have today become the most celebrated handicraft of Kashmir, and people all over the world are looking for them only for their artisanal value and aesthetic appeal. Though these rugs are known all over the world, they still have a place in the daily life of many Kashmiris by performing the same function that they did centuries ago.

Namdas are old, hand-forged rugs that have been made using wool fibers interlinked, helped by water, soap, and pressure. Next ornate embroidery is undertaken on this fabric. Kashmiri houses use the two mostly applied household floor coverings/mattresses, in essence-namdas, inexpensive as well pragmatic.

Image Source: Kashmir Box

Tracing the Historical Foundations of Namda Craftsmanship

The felting technology has played a very important role in the nomadic life for many years. In Central Asia, this tradition has been there since its formation. According to evidence, it was in the 5th century BCE that nomadic Scythians were known to have felted tents. Today, this tradition is continued by the nomadic Kazakh in regions like Sinkiang. Felting techniques were known in regions that today constitute Pakistan by the late 4th century BCE. Namdas can be assumed to have been introduced to the region as saddle blankets from Central Asia through Aryan migrations during the Iron Age. The oldest ornamentation on these textiles has gone unrecorded, but the use of these ornaments continues today in Swat and the Hyderabad District of Sindh as well as parts of Baluchistan, including Lasbela, Kharan, and Mastung.

The burial finds of Pazyryk in the Altai region of modern Siberia, dating from the 5th–4th centuries BCE, prove to be rich in evidence of highly developed felting techniques. These relics consist of intricate motifs, made from colored fleece, like used in the Pakistani saddle cloths. A few of these motifs show Chinese influence, hence proving the cross-cultural interaction of that time once more. The felting art is still significant today, even in Turkistan, the Indian Subcontinent, and Tabriz of Iran.

Significantly, felting predates both spinning and weaving, probably either with the appearance of animal skins used for clothing and shelter or soon after that.

Archaeological discoveries further support the historicity of felting. The National Museum in Copenhagen contains several excellently preserved, thick, felt hats, dating about 3,500 years. These have been found in Danish prehistoric burial mounds in Jutland and North Slesvig. In 1939, a Bronze Age tomb was discovered in Hesse, Germany, dating from 1400 to 1200 BCE. A felted sheep’s wool strap, which was part of a bridle for a horse, was found in this tomb, one of many uses of felt amongst different cultures. It reached its highest among the nomadic tribes of Asia, Mazandaran province in Iran is regarded as the origin of this technique. Techniques, tools, and terms of the craft have still basically the same since ancient times. Traditionally, traveling craftsmen made felt from the wool produced by the villagers as they moved from village to village to find their living.

The word namda in the Indian subcontinent means felted wool flooring or wall covers. The word is derived from the Sanskrit root namata meaning “woolen material.” Usually, the origin of the namda can be traced back to the rule of Akbar, the great Mughal emperor who ruled in the 16th century. According to historical accounts, it was said that Akbar wanted a suitable covering for his horse to save it from the harsh cold. Thereafter, a craftsman, Nubi, from the eastern regions offered his solution in response to his proclamation. Nubi made an elegantly embroidered multicolored pattern on a felted rug. It is said that the beauty and functionality of the felt impressed Akbar, who, upon seeing it, gave the name namda to the piece after its creator and granted him a few villages in acknowledgment of his superb craftsmanship. Available historical evidence points out that namdas existed in Kashmir much before the 14th century. Sultan Zain-ul-Abidin (r. 1420–1470 CE) promoted handicrafts in Kashmir and jalakdozi embroidery slowly started gaining importance in local crafts traditions and improved namda production. Namdas plain was initially imported from Central Asia where they were embroidered later, however with time, the artisans of Kashmir started producing those themselves.

Portrait of Mughal prince Sultan Murad, depicted kneeling on a felt namda rug (ca 1600); Image Source: Royal Collection Trust

The Journey and Flourishing of Namda Craftsmanship

The 19th century can be said to mark the turning point in Namda’s production. Las Khan, a Kabul artisan is said to have set up a workshop to formalize the craft in 1850 which became a byword for the ‘Namda’ locality of the region. The industry took shape to become an industrialized one. The world of the Kashmiri ‘Namdas’ was discovered around the First and the Second World Wars and the export market reached as far places as Yarkand and Persia even in the early 20th century. This tradition remains a cornerstone of Kashmiri handicrafts, bearing testimony to centuries of cultural and artistic heritage.

There is a reference to namda in a document found during excavations in Khotan in Sinkiang, Eastern Central Asia, dating back to the 3rd century AD. It is also recorded that namdas were imported into the Indian subcontinent via Leh in Kashmir during the 19th century (Hamid, 1989). Namdas may have been produced in modern-day Pakistani regions during the Mughal era, a time when Kashmiri craftwork flourished in Lahore. However, modern industrial production began with the migration of Muslim Kashmiri artisans to Azad Kashmir and Pakistan during Partition. Today, Azad Kashmir, Rawalpindi, Lahore, Karachi, and Peshawar are important production centers. The establishment of the first small industries training center for namdas in Muzaffarabad, followed by additional centers such as one in Kahuta, Punjab, reinforces the continuing efforts to support and expand the namda cottage industry.

According to Kashmiri poet and historian Zareef Ahmad Zareef, Namda arrived in Kashmir in 1850 with Afghan artisan Dost Khan, who settled in Srinagar’s Makhdoom Sahib locality after marrying a Kashmiri woman and carried on making Namda until his death. The street where it was located was also named Namdagiri Mohalla or Namda-making colony. During World War II, Namda experienced such huge demand for German and British soldiers, who used to buy Namdas as gifts. Later, when the artisans began to adulterate the wool, Namda suffered a big setback, leading to a decline in exports.

In the 1970s and 80s, the European market saw the chain stitch and crewel embroidered namdas with floral patterns becoming in high demand and leading to unprecedented export opportunities that were a source of steady income for local craftsmen. The absence of product innovation and design refresh, however, created a considerable erosion in their appeal, leading to a reduction in market share.

The Craftsmanship Behind Every Namda: Exploring the Details

Namda uses a method of felting introduced into India by the Persian and Turkish welders and took shape during the Mughal period, unlike woven rugs. It consists of beating and fluffing wool fibers with a wicker punja (comb), layered, matted, and pressed. Three or more layers of wool are prepared separately, each treated with soap suds and compressed with a pinjra tool to interlock fibers. The layers are pressed lightly to equalize size and thickness. The resulting material is then rolled to squeeze out excess water, using a soap solution to clean it, and laid out to dry under direct sunlight. It may be permitted in its plain form or may be profusely embroidered or embroidered with appliqué.

Image Source: Bandhej

In the case of Kashmiri namdas, cotton is often used in conjunction with wool to produce a light white base, all of which exquisitely appeal against multi-colored embroidery. Malabari namdas are often embellished with colorful aari and kashidakari stitching, usually adorned with floral patterns and motifs of the chinar tree, dachh, cherry blossom, and pamposh.

Namda-making is a domestic art concentrated primarily within the Muslim community, passed down from generation to generation. Within Kashmir, they are often employed as blankets or mattresses and prized for their warmth, suitability for cold climates, and wide availability. About the mahiya and other compositions in eastern Kutch, the namda is also made by the Pinjara and Mansoori communities and is generally found in the homes of Darbar householders. Their method is slightly different, due to the involvement of the appliqué technique wherein dyed wool patterns are arranged and compressed together with other layers.

This technique was painstakingly labor-intensive to the point that on average three men would produce maybe two namdas in a whole day. Such rugs are mostly produced in Tajikistan, Kashmir, and Rajasthan. Despite the challenges, namdas are still being demanded in the urban market up to international standards, thus allowing this form of traditional art to see many decades of continuity.

The Process of Creating a Namda

• Carding – The cleansing of dirt and other impurities from the wool is the primordial step to acquiring a clean and homogenous product. This carding will also assist in keeping all the fibers to the same thickness.

Carding of wool; Image Source: Bandhej

• Framing – Once the carding is over, a frame defines the area in which the wool stuffing will be evenly distributed.

Framing of the wool; Image Source: Bandhej

• Layering – Wool is evenly spread in the area defined by the frame in thick layers. For the bottom-most and third layer generally, coarser or less fine wool was adopted as it is considered not a troublemaker.
• Soap Solution Sprinkling – Lightly sprinkle with soap and water solution over the wool layers to prepare the fibers for the felting process.
• Rolling the Namda – The layered mat thus created is rolled tightly and tied with a rope. It is rolled on the ground back and forth with the palm and feet compressing it. This tedious process lasts for about one hour, making the fibers interlock by what is called “fiber-to-fiber fusion.”
• Drying – When the rolling is done, the knot is untied, and the felted namda is unrolled out. It is then allowed to be sun-dried to enable residual moisture to escape.
• Aari Stitching (Optional) – To make it more appealing, aari can be used to embellish the surface of namdas. The pattern and motifs come alive with this embroidery work, thus converting an ordinary rug into a piece of art.

Aari stitching; Image Source: Bandhej

Patterns, Motifs, and Stories Woven into Namda

Namda is got from Jammu and Kashmir and is originally made of a kind of bed made of felting wool, instead of weaving wool. In their production, the low-quality wool is mixed with a small amount of cotton. The two main varieties of namdas are plain and embroidered. The wool yarn was traditionally used for embroidery, but nowadays, artisans also use acrylic yarn, called cashmelon. The painstakingly done embroidery adds charm and resilience to namdas and gabba with a wonderful riot of colors on these handcrafted pieces. The cottage industry for namda production is based in Anantnag, Rainawari, and Baramula.

The first step undertaken in namda production is the scouring, teasing, and fluffing of sheep fleece. While modern workshops now use carding machines, the earlier traditional methods employed a painja-a wooden tool resembling a large bow-to-beat and fluff the wool. The fluffed fleece is laid out on a burlap cloth depending on the desired size, with tufts of fleece running along the edges for fringes. Fiber is sprinkled with soapy water, rolled, and kneaded until it felts. Finally, namdas are soaked in fresh water, rinsed thoroughly, and then laid out flat to dry under the sun. Certainly, this primitive but efficient technique has been almost unchanged since ancient times(Wells, 2000).

The decorative namdas of Kashmir, marked by chain-stitch embroidery, show the influence of eastern Central Asia. Such chain-stitched namdas are still common in Sinkiang. In this style, namda is hooked with multicolored woolen yarns using the ara-kung, the traditional Kashmiri tool for chain stitching. Usual motifs include geometric patterns, figures of animals, and floral designs, such as chenar leaves, grapes, irises, and almond and cherry blossoms. The combination of these artistic elements makes these namdas not just functional but also culturally significant artifacts of Kashmiri craftsmanship.

Namda Felted Crewel Work Rug; Image Source: Kashmir Digital Museum

The namda combines a lot of geometric tessellations, with some warm colors, thus breaking the monotony of repeated patterns. The design layouts are believed to be inspired by khatamband, the intricate wooden ceiling craft of Kashmir. Some motifs are named with this knowledge in mind, connecting these two different crafts. Thus, the namda may be displayed in a non-directional fashion.

Key Design Element:
Hashi (Borders) – Hashi plays an important role in confirming the central design of the namda and also enhancing it. Without borders, the rug would appear like any plain yardage fabric. Borders form a framework for any design, giving it extra beauty as a whole and also to the motifs themselves.

Image Source: Gaatha

Motifs

• Double Khatamband – A tessellation of octagons and squares, this comprises a dynamic and harmonious composition of vertical, horizontal, and diagonal lines enhanced with bright colors.

Image Source: Kashmir Origin

• Aemberzul – Inspired by the aesthetic power of the daffodil’s eight-petaled form, this motif stresses an octagonal grid, hence filling the substance of the delicate white flower with a yellow center.

Image Source: Gaatha

• Taldaar – Coming from the Kashmiri word for ceiling (tal), this motif is a frank depiction of the design principles and insulating qualities common to khatamband ceilings. It reflects the overlap between architecture and textile crafts.
• Gul-i-Akhtab – Translating to “Sunflower,” it represents a large four-petaled presentation of the plant which captures the sun’s radiance in its structure, lending vigor to floral elements in the design.
• Jet Jahaz – A more recent addition to the traditional craft of namda, this motif uses simplified forms of airplanes seen flying in over artisans’ homes upon landing. It reflects technology and contemporary life in the spirit of its evolution.

A critical examination of the representation of all these design motifs and elements will reflect the rich heritage of the namda, even as it admits contemporary influences into the fabrics of the past, along with a lively demonstration of Kashmir’s craftsmanship.

Namda Craft: Tradition in Modern Times

For nearly 30 years, the Namda craft-Kashmir’s traditionally woven rug using sheep wool, intricately hand-embroidered-had suffered great decline due to nonavailability of quality raw materials, lack of skilled artisans, competition posed by machine-made carpets, adulteration, and poor marketing strategies. This has resulted in a near-complete cessation of Namda exports, bringing this heritage craft sufficiently close to extinction.

Image Source: Greater Kashmir

However, product innovation and design changes do not seem to be part of the mix, and so the attraction of namda carpets has declined to such an extent that they have lost some considerable market share. To add to their woes, the influx of machine carpets, which offer warm floor coverings cheaper than namda, was tantamount to the demolition of the namda market. Not long ago, master namda artisan Farooq Ahmed Khan employed 30 to 40 workers and produced thousands of pieces annually. Today, however, with only three or four helpers, he produces only a few hundred namdas for local traders and a few designers.

Sharply, however, the present year hosted a revival for Namda with the G20 event showcasing its cultural significance and a few of its products traveling to the United Kingdom in exports.

Arifa Jan, a Srinagar-based entrepreneur, has played an active role in the revival of the Namda craft in Jammu and Kashmir. “In 2011, I graduated with a postgraduate program in craft management and entrepreneurial leadership from the Craft Development Institute (CDI), Srinagar, and worked on the Namda Revival program,” Jan says. In 2012, she set up a center where artisans create Namdas, earning a daily wage of ₹750 instead of the ₹100 offered by other centers. She was bestowed the greatest honor-the prestigious Nari Shakti Puraskar-in 2020 by then President of India Ram Nath Kovind.

Arifa Jan has been working since 2011 with around 15 artisans-Male and Female invested in the Namda craft for marketing them to the US, Finland, and Sweden. It was here that the Namda displayed at the National Crafts Museum, New Delhi, drew many American visitors, who went back with orders to Kashmir related to the craft. A museum official said that handicraft displays of Namdas, Pashmina shawls, carpets, etc., attract global visitors, especially during winter exhibitions. Monthly demonstration programs also invite artisans from across India to showcase their work.

Atul Sharma, Managing Director of the J&K Handloom and Handicraft Corporation, noted rising demand for Namdas, especially during events like the G20 Summit. He proposed an expansion into exports to Turkey, Japan, and the UK in the next two years. The Union Minister Rajeev Chandrasekhar flagged off the first batch of Namda products for export to the UK in July, with Prime Minister Narendra Modi praising the revival of this centuries-old craft.

The Union government launched a pilot project in November 2021 under the Pradhan Mantri Kaushal Vikas Yojana (PMKVY) 3.0 to bring back and encourage the Namda craft. Over 2,200 candidates across six districts in Jammu & Kashmir received training in this dying art. Also, artisans trained under the scheme went through Recognition of Prior Learning (RPL) training to further sharpen their skills.

Sharma stated that in a recent two-day national exhibition, Namdas, and other Kashmiri handmade products sold for Rs. 2 lakh. He cited that government initiatives like the geographical indication (GI) tag and several exhibitions have increased Namda’s credibility and market allure and that the G20 event has given a big push. In 2022, Namda and other Kashmiri crafts hit historically high sales of ₹18.5 crore. This has already crossed ₹20 crore in sales this year, with hopes to beat a 40-year-old record by the year’s closure.

Image Source: The Legitimate

Bashir Ahmad Bhat, a veteran Namda craftsman from Nowhatta in Srinagar with over 40 years of experience, explained that Namdas are made from the wool of a special breed of sheep found in the Kashmir Valley. Art of Namda making is a painstaking process demanding skill and proficiency,” said Bhat, adding that making a Namda of 2×2 size consumes approximately a day if done with good skill.

Conclusion

Apart from the exotic beauty of the Namda, the tradition is severely affected by the scarcity of skilled artisans skilled in the ancient art form. The burgeoning of modern carpet manufacturing and the influx of cheap imitations act to stall the progress of this art. The art may gain no interest from the younger generation, since it may face reluctance in learning it under the influence of modern concepts.

To preserve this legacy, it is essential to educate the younger generation about the cultural and historical significance of Namda. Furthermore, the promotion of demand for the original Namda carpets, being an integral part of Kashmir’s rich heritage, is of paramount importance for its survival and revival.

Namda is not just the forte of craft; it is a testimony to the vibrant cultural lineage and artistic antecedents of Kashmir. Although the production of Namda has been endangered on account of many reasons, inclusive of skilled artisans going into extinction, and the welcome of synthetic substitutes alongside altered expectations amongst new generations, attempts are afoot to restore and propel the dynamic and effervescent return of this art form. It is steadily making a comeback through programs of training artisan assistance from the government and increasing global demands. For the continued survival of this ancient practice, the involvement of a new generation will be called upon within heritage, and well-founded regard will have to be engendered for the true art of Namda. The same would ensure the prosperity of this enchanting craft to flourish and be passed from one generation to the next, keeping alive in times to come the whole fabric of Kashmir’s craft culture.