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Crafted in Grain: The Everlasting Art and Soul of Kashmir’s Walnut Wood Carving

Picture of Nida Farooqui
Nida Farooqui
As a history graduate currently pursuing my master's degree, my work is deeply inspired by a fascination with Kashmir and its rich cultural heritage and traditions. I believe that history is philosophy in action—providing profound insights into human nature and society, illustrated through vivid examples from the past. My writing seeks to bridge the academic and the accessible, exploring the stories that shape identities and unraveling the complexities of our cultural narrative fabric. Through this journey, I strive to highlight the timeless relevance of history, encouraging readers to view it not just as a record of events but as a living dialogue that informs and enriches our present.

Also known as “paradise on earth,” Kashmir is spell-binding not only by its beautiful natural elegance but also by the rich heritage of traditional handicrafts. Of these, walnut wood carving holds its popularity as one of the revered crafts in the region.

Walnut wood carving in Kashmir is possible due to the different kinds of walnut trees found at elevation ranges between 5,500 and 7,500 feet above sea level. The high altitude and climate are suitable for the growth of walnut wood, making it easily accessible to quality, long-lasting wood for use by artisans. Kashmiri walnut wood, known for its strength, close grain, and smooth texture, can be etched with exquisite carvings very accurately and beautifully. But these qualities, that make beautiful the intrinsic artistic effects achieved on the wood, really shine through as soon as the surface is polished.

Motifs in walnut wood carving from Kashmir are diverse and symbolic and often inspired from nature and regional culture. Common motifs include roses, lotuses, irises, grapes and pears in a bunch together, as well as the rather quintessential chinar leaf, which represents the spirit of Kashmir. More elaborate work displays motifs of dragons, and relief carvings with patterns similar to those on traditional Kani shawls and embroidered textures. It varies from furniture to wall decors, from home utensils to interior appliances, all of which reflect the legacy and exquisite skill of Kashmiri artisans and preserve the timeless cultural heritage.

Kashmiri walnut bed board with floral designs; (Image Courtesy: Outlook Traveller)

Roots of Elegance: The Origins of Walnut Wood Carving in Kashmir

The origins of walnut wood carving in Kashmir can be traced to the 15th century, under Sultan Zain-ul-Abidin, a rather celebrated patron of the arts. Sheikh Hamza Makhdoom is believed to have first introduced this craft to the region under Zain-ul-Abidin’s encouragement as part of an effort to strengthen Kashmir’s economy and imbue its artistic landscape.

In the true sense of the matter, walnut wood carving was used only for grand structures in the early days, therefore it adorns palaces and high-status buildings with intricate, elaborate designs. Written records are available, which mention that Zain-ul-Abidin had such a beautiful razdani, or royal palace, with such perfect woods inside it. Some of the finest examples of this period’s craftsmanship are still visible today in the shrines of the venerated figures, such as Nund Rishi, Noor-ud-din-Wali, and the Naqshband Mosque. These intricately carved shrines, mausoleums, and buildings still describe the historical artistry and devotion by Kashmiri artisans.

Carving on wooden door by Kashmiri artisan Ghulam Nabi Dar; (Image Courtesy: Anadolu Ajansi)

 

Of course, the craft evolved and went beyond grand, architectural pieces. In effect, it now manifests itself in an incredibly wide range of modern commodities: from home decorations and furniture to more auxiliary, minor decorative items. It is both the tradition and adaptation that Kashmiri walnut wood carving managed to convey through each object. The art form, which started with grand projects for palaces, has since become more accessible and cherished within Kashmiri culture, becoming a forever emblem of the region’s heritage and ingenuity.

The wood-carving industry of Kashmir is believed to have blossomed under the full nurturing support of Sultan Zain-ul-Abidin. Known as Budshah, the great Sultan’s patronage drew skilled artisans from Samarqand, Bukhara, and Persia. According to Pandit Srivara, the Sultan’s court chronicler, Budshah ensured that those artists lived a comfortable life. In return, these artists presented their arts to the people of Kashmir. Muslim era woodwork is a testimony that reflects the flourishing of this particular art during the reigns of the Sultans of Kashmir. Stone itself forms a classic material of ancient Hindu temples in the region; however, wood dominates as a building material for mosques from the medieval period.

Some of the major religious sites of Kashmir, like the Khanqah-i-Mualla and the shrine of Sheikh Hamza Mukhdum, still stand as beauty examples of Kashmiri carpentry. One of the unique forms of Kashmiri woodwork is called khatamband, which, according to Sir Walter Lawrence, were “beautiful ceilings of perfect design, cheap and effective.” The very ceilings, prepared by professionals by interlocking pinewood slices, demonstrate such harmonious shades that blend into an attractive effect. The shrine of Naqshband Saheb presents a fantastic example of this ceiling style, which became so admired that some were even installed in England during the Dogra rule.

Walnut wood carving on a box; (Image Courtesy: Medium)

 

 

The Flourishing Legacy: How Walnut Carving Thrived in Kashmir

Modern Kashmiri wood carving is a legacy of the Dogra era, when pretty designs extended into functional household items and furniture. Maharaja Pratap Singh took an important step to promote Kashmiri woodwork by exhibiting local arts and crafts in the Government Museum, initiated by one of his influential ministers, Dr. A. Mitra. On the occasion of King George V‘s Coronation Durbar in Delhi, Maharaja Pratap Singh gave an ornate wood-carved gate and façade from Kashmir, which probably introduced this craft to British aristocracy. Besides, visitors to Kashmir and heavy purses of well-to-do aristocrats both within and outside the region helped the craft flourish.

One of the most celebrated artisans of the period, Ustad Sultan Muhammad Buda started new designs in Kashmiri wood-carving during this time. It was during this period that Buda, who had traveled outside Kashmir, himself established a carving workshop upon his return. His craftsmanship attracted dealers like Ahmed Khan and Habib Joo, who became his earliest patrons. Buda hired other artisans and paid fair wages; however, he also experienced some of them eventually branching out to establish their own workshops, expanding the reach of this intricate craft even further.

During the Dogra regime, the wood-carving industry of Kashmir has rejuvenated itself considerably. In the 1921 Census, Kashmir had 50 woodwork factories active in the state, divided into three broad heads:

Carving carves mostly walnut woods.
Pinjara, or latticework.
Paneling, in a multitude of detailed designs.
The designs and styles that were evolved at this time came from abroad in the foreign catalogues with European style. The most prominent design innovations of this time period were as follows:

“German, Egyptian, and Swiss motifs”.
Animal sculptures, such as elephants, dogs, and horses.
Tray designs are in the form of chinar leaves and other natural forms.

                                                                              Different designs on wooden board; (Image Courtesy: Village Square)

These innovations contributed to a dynamic period for Kashmiri wood-carving, blending traditional craftsmanship with global influences, and further solidifying the craft’s reputation and demand both locally and internationally.

Whispers of Craftsmanship: The Subtle Beauty of Kashmiri Walnut Wood Carving

The walnut tree, an abridged expression locally known as “Doon Kul,” is the heart and soul of Kashmir’s exquisite wood-carving tradition. One does not cut down these trees but waits for 300 years, which allows the wood to develop this unique texture and grain.

Srinagar is the capital of Kashmir, but it is actually the center of this traditional craft. Workshops are spread across the city; here, busy master carvers known as naqqash hunch over the walnut wood for chiseling and polishing these intricate creations. Walnut wood carving is divided into three basic stages: joinery, carving, and polishing, with each stage worked separately by different craftsmen.

The naqqash starts by drawing simple motifs on the walnut surface, which she then chisels and develops using a wooden mallet, thus adding three-dimensional depth and embossing the design. It is an enormously skillful job and done in a kharkhana (workshop) under an ustad (master craftsman). In these workshops, karigars assist, often singing traditional Kashmiri songs, including Sufi kalams, to keep up the spirits during long hours of carving. Today, radios or cell phones often provide the music, yet the spirit of craftsmanship remains the same.

These Kashmiri craftsmen are known not only for the small carved items but also for the beautiful details in architectural elements they undertake. The fine geometric patterns that are visible in ceilings, doors, cornices, and facades speak of mastery over the craft by the artisans. In addition, the Pinjra work, synonymous with Kashmiri woodcarving, remains a wonderful testament to their brilliant artistry.

Workspace for wood carving; (Image Courtesy: Village Square)

 

The walnut trees of Kashmir are divided into four types:

  • Wantu or Vont Dun, having fruit with hard shells;
  • Dunu and Kakazi is also called Burzol is valued for possessing light-shelled fruit; and
  • the wild Khanak must age before producing fruit.

The characteristics of each type further add to the tones and grain textures found in the wood, making the carvings so diverse.

Kashmir’s walnut trees are best suited for 5,500 to 7,500 feet altitudes. The strength along with the fine grain and smooth texture of the wood produced makes it ideal for detailed carvings. Walnut wood polishes to reveal the natural beauty of the material, which, even in simple designs, produces intricate effects.

Due to the scarcity of walnut raw material, the artists have started carving the large branches of the tree, which produce wood of lighter color and subtler grain. But it is only the dark wood from the root that still is used for carving since it is much stronger in strength and has a more pronounced grain. The costliest is the wood from the roots, and the price of walnut wood varies depending upon where it came from – root, trunk or branch.

Wood used for carving; (Image Courtesy: Medium)

 

The preparation process of walnut wood is quite meticulous. The cut wood is numbered and put away in the shade to season. The gaps between the planks allow for air circulation, which helps season the wood over a period of one to four years.

Once prepared, the naqqash embarks on the work, etching the underlying design and carving away wood around it to expose the raised patterns. Such intricate, delicate procedure requires an unmatched degree of skill and endurance for each Kashmiri walnut wood carving to be a touch of timeless artistry.

Kashmiri wood carving is known for its intricate and varied techniques, so there are five major styles to define the overall artistry of the region:

Undercut (Khokerdar): There is an intricate carving in multi-layers which may reach up to seven layers. The three-dimensional interpretation of different motifs or scenes is created as a result. An example is the undercuts jungle, carvings of leaves and rabbits hopping out of bushes and birds flying above, so on. This technique gives way to such a dynamic, layered look that brings the designs to life.
Jalidahr or Open or Lattice Work: This style of carving is famous for the fine, perforated latticework. Chinar leaves are more commonly used with Mogul-type lattice patterns. The delicacy of this style is created through the use of chisels (wathlavun), planers (randha), measuring tape (phet gaz), L-angles (khari hat) in drawing parallel and perpendicular lines, and wooden scales (khat chhal).

Tools used for carving wood; (Image Courtesy: Village Square)

 

Deep carving-Vaboraveth Deep carving design finds actual meaning in the form of raised work. It involves designs with significant depth, such as dragons or lotus motifs. The carved elements can reach up to 5 inches in depth, giving the artwork a bold and striking presence. This style emphasizes texture and dimension, creating dramatic visual effects.

Padri Semi-Carving: Generally, semi-carving presents thin panels on the edges of the surface with a central motif, though carvings are less deep and more subtle so as to focus on the elegance of simple design but well executed.

Sadikaam: Shallow Carving; often just barely cut along pencil lines, motifs and scenes are just a hint of depth. This gives the design a soft appearance in understatement, where focus is on delicacy of the carved lines rather than physical depth of the carving.

Each style represents a unique facet of Kashmiri craftsmanship, demonstrating this region’s versatility and complexity within wood-carving traditions.

 

Echoes of Tradition: The Rich Motifs and Symbols in Kashmiri Walnut Carving

The richly detailed motifs for which Kashmiri woodcarving is known celebrate mostly the natural beauty of the region and its cultural heritage. The flower theme is particularly prominent, and motifs usually have a basis in nature, as seen also in other handicrafts, such as papier-mâché and shawl weaving. Some of the favorite designs are Chinar leaves, roses, irises, lotuses, and the striking depiction of a tree with all lush foliage on one side and absolutely bare on the other showing the transition from summer to winter.

Deep, three-dimensional relief carvings of jungle scenes with deer, jungle goats, bears, parrots, and other animals capture the vibrancy of Kashmiri wildlife. Intricate carving forms go back to the influence of European designs brought over in the 19th century that shifted earlier bold motifs into more detailed, delicate patterns.

Different designs made through carving; (Image Courtesy: Medium)

 

Kashmiri wood carvings are known for their rich motifs. Most of the motifs in Kashmiri wooden artworks find inspirations in the natural beauty and the region’s cultural heritage. Floral motifs, in particular, are very famous, with motifs rooted in nature, most often witnessed in other handicrafts, such as papier-mâché and shawl weaving. Among the most popular designs are Chinar leaves, roses, irises, lotuses, and the very evocative tree with one side lush in foliage and the other completely bare, thus symbolizing the transition from summer to winter.

Often the jungle scenes of deer, jungle goats, bears, parrots, and other gaudy animals are in deep, three-dimensional relief carvings. Other intricate carvings, here too, can be traced back to European designs entering into Kashmir during the 19th century, which shifted earlier bold motifs into more delicate, detailed patterns.

Carving of walnut wood by hand using primary tools; (Image Courtesy: Village Square)

 

Some of the prominent motifs used in Kashmiri walnut carving include:
There are several motifs. Some of them are:

  • Gul Tarah: such as stylized roses, lotuses, and all other native blooms, either as a bouquet or as individual flowers
  • Phulay Tarah: depicts blossoms like almonds, peaches, cherries, and saffron
  • Kandh Posh Dhar: Carries a lot of rose motifs with thorny branches.
  • Gass-i-Tarah: It represents the reeds and water-plants.
  • Mavi Dahar (Fruit-Bearing Trees): Motifs based on fruit-bearing trees like apples, pears, and walnuts.
  • Tarah Dach (Grape Motif): Containing cluster grapes, leaves and vines motifs of abundance from nature.
  • Bhoni Tarah (Chinar Motif): Among the most popular motifs, originating from the national tree, Chinar.
  • Janavar ti Jandhar Tarah (Animal Motif): Containing several Kashmiri wildlife animals such as bulbul birds, sparrows, deer, lions, and fish.
  • Tairi Jab Kiyan (Wild and Forest Scenes): Even better wildlife scenes which feature forest landscapes with mountains, streams, and pine trees.
  • Dal Tarah (Dal Lake), Shikar Gah (Hunting Scenes), Darbar Dhar (Court Scenes), Jang Dhar (War Scenes), Shakli Dhar (Portraits), and Harfi Dhar (Arabic or Persian Calligraphy): These patterns represent the cultural and historical heritage of Kashmir.
  • Chand Chotahi Dhar: Contains a central moon design surrounded by four corner designs to form a balanced composition.
  • Pamposh Tarah (Lotus Motif): Lotus flowers and other intricate floral patterns, sometimes arranged in geometric Khatam-band designs along borders or filling entire surfaces.

Walnut wood exudes a natural sheen when smeared with a wax or lacquer polish, which accords beauty and fantastic intricate details to each piece. Creating one artifact can take from two days to six months, depending upon the complexity of the design, testimony to the skill and dedication of Kashmiri artisans.

 

 

Different forms of motif on walnut wood; (Image Courtesy: Gaatha)

Resonance in Today’s Culture and Contemporary Design

Walnut wood carving from Kashmir has, with poetic ease, moved out of traditional artistry to enter the realm of contemporary and pop culture, assimilating old-world craftsmanship into modern sensibilities. Today, it boasts its relevance in luxury home decor, fashion, and even art installations, as well as parts of tech accessories, reflecting its long-lasting appeal.

Kashmiri walnut wood carvings are the aesthetic versatility that interior design celebrates. Modern architects and designers are introducing it into the urban setup by using carved wall panels, ceiling designs, and specific furniture as highlights in a home or commercial space. It is for this reason that walnut wood has a timeless look that suits all contemporary tastes owing to its unique textures and deep, earthy tones. The intricate carvings in walnut wood, however, give an artistic connection to heritage. Sometimes used in minimalist decor, these carved elements stand out among the surrounding minimalist and sleek air.

Dining table with Kashmiri wooden carving; (Image Courtesy: Gaatha)

Fancy furniture and decor brands have introduced Kashmiri walnut wood carvings into their product lines, transforming traditional motifs such as Chinar leaves, floral vines, and geometric latticework to suit today’s tastes. Buyers who now look for artisanal craftsmanship and heritage-inspired decor have appreciated coffee tables, headboards, and dining sets with these carvings. Very strong, heavy, and aesthetically hard, walnut wood is a favorite among owners of luxury furniture pieces, always marketed nowadays as “heritage” or “ethno-luxe” items to characterize the contemporary living space.

Door with carving; (Image Courtesy: Gaatha)

Walnut wood carvings have revived within fashion and accessories. This ancient art was seen anew by designers and put into wearable items such as jewelry, watch faces, and phone case designs; it was then brought into the fashion accessories portfolio in the form of belt buckles and cufflinks. These miniatures take on the form of traditional patterns on a larger scale, making them statement pieces appreciated on an international level. By translating the art into everyday items, it has provided designers with a means of introducing Kashmiri carving to audiences who may not know much otherwise about this heritage craft.

Chessboard with Kashmiri wood carving; (Image Courtesy: Gaatha)

The Kashmiri walnut carving influence can also be appreciated in art and popular culture, inspiring installation art, sculpture, and digital art. Innovative ways of exposing the beauty of walnut wood carving have taken place through massive installations across public spaces and galleries, engaging with traditional motifs in new forms that create an abstruse space bridging the past and present. Kashmiri artists have gone even further and have associated with artists across borders to translate the local designs into digital and multimedia formats so that the art form gets preserved and would be newer to larger audiences.

Kashmiri walnut wood carving was widely featured in movies, documentaries, and commercials representing cultural richness and artistic sophistication. Intricate designs used in set design, most notably in period films or movies to recreate traditional luxury, have made its appearance in popular media. This has created new interest in Kashmiri art and craftsmanship as a viewer becomes enthralled with the beautiful and rich heritage reflected in such intricate designs.

Lastly, eco-consciousness and sustainability movements have increased the appeal of walnut wood carving as an ethical, sustainable choice in a world moving towards environmentally friendly options. Artisans in Kashmir now emphasize the sustainable nature of walnut wood, using only mature trees and maximizing the utility of every part. This has in turn brought a new form of appreciation for the craft by the environment-conscious consumers who hold each carved piece to be artisanal and zero-waste.

It’s in all these ways that Kashmiri walnut wood carving has evolved beyond the traditional craft, and it’s a cultural icon with a powerful presence in contemporary and pop culture that speaks to global and local sensibilities that appreciate its beauty, history, and timeless appeal.

 

 

Trials facing the art of Kashmiri Walnut Wood Carving

The artisans of modern Kashmir are hindered by challenges such as limited financial returns and relatively poor prospects for perpetuating the craft. There is also alarming difficulty in recruiting new apprentices to replace aging local craftsmen.
Where only less than the half of a number of artisans are available at the market, coupled with a shrinking pool of trainees, the dependable supply of authentic wood-carved items becomes increasingly tough. As a result, commercial craftsmen in the Kashmir region have also begun to work with artisans in Saharanpur, another famous woodcarving center, to supplement this market requirement. Although these Saharanpur productions increased souvenir articles, they also illustrate the unfortunate fracturing of traditional authentic Kashmiri craft and relatively simplified carvings. Keeping the above in view, vendors have sought ways to promote exclusively the expertise and craftsmanship associated with authentic walnut wood carving from Kashmir.

Different challenges posed to wood carvers; (Image Courtesy: Village Square)

Over the years, the market for traditional Kashmiri furniture and home decorative goods has declined, partly because of persisting political instability, as well as a general lack of innovation in product development. The younger generation often exits their family’s woodcarving line, deeming it dull and physically confining. The majority instead pursue formal education and professional careers, finding themselves seeking more dynamic work settings. This reflects broader shifts in societal values that have challenged the continuity of traditional crafts. Although demand for wood-carved products has fallen sharply since the 1990s, veteran artisans like Mohammad Ismail remain committed to producing styles that resonate with local tastes while adapting designs to suit modern clients. Ismail’s popular pieces include engraved walnut items such as his work depicting the 99 names of Allah, widely carried into mosques and shrines across Kashmir. Raw materials in the form of mature walnut timber-locally called “doon kul”-are sourced for such pieces. Main motifs include chinar leaves, floral patterns, and dragons. Artisans say that disruptions like the lockdown following the abrogation of Article 370 and the COVID-19 pandemic have further impacted their market. Veteran woodcarver Ghulam Hassan Mir, with half a century of experience, claims that orders per month have now reduced to around 5-6. This is symptomatic of the drop in demand in the past two decades. The interest of tourists in purchasing wooden carvings as souvenirs has considerably lowered in recent years.

Skilled artisans barely making a living: (Image Courtesy: Village Square)

Walnut woodcarving remains a heritage that is integral to the Kashmir work culture. Only 10% of walnut woodcraft is machine-made, the rest meticulously handcrafted. Craftspeople earn between Rs 500 to Rs 700 per day, they feel that new designs and variants are needed to recapture interest. Another development causing concern is the substitution by some of the artisans using walnut wood with cheaper types, which goes against the repute of authentic Kashmiri woodwork. The artisans have been demanding governmental intervention to check these trends and impart training for budding woodcarvers.

To cope with rising demand many shopkeepers in Kashmir have aligned with Saharanpur woodcarvers, a town in western Uttar Pradesh that is also known for its woodwork. Saharanpur’s tie-up with Kashmiri carving traces its origin to the late 19th century, when migrating Kashmiri artisans introduced their typical motifs–jaali and vine leaves. Such collaborations helped meet the tourists’ demands for affordable souvenirs while continuing to celebrate the long legacy of Kashmiri woodcarving in new markets.

Walnut woodcarving is a practical example of Kashmir’s artistic soul versus the resilience and changes of times; every intricately carved piece stands witness to generations of dedication, talent, and cultural pride. What was once a booming heritage art is now threatened by challenges that may soon put its continuity at stake. From limited resources and declining interest in the youth to competition with external markets, walnut woodcarving art stands at a crossroads. Artisans adapt as they have no other choice, providing collaboration with far-off artisans, and incorporating new designs into the craft, which will bring to life the ancient techniques while holding onto the essence of the tradition.

But admiring the beauty of a carved chinar leaf or the intricate latticework of a walnut wood panel with this reminder should come the realization about the artisans behind it—their stories, their hands so shaped by years of chiseling and polishing, and their commitment to preserving this fast-fading heritage. In this fast-paced world, Kashmiri walnut woodcarving prompts us to remember beauty lies in patience, tradition, and determination of those who refuse to let an art form disappear. It remains, at its core, a celebration of the natural beauty of Kashmir and cultural legacy and survives on the appreciation of support and recognition by those who see the unique value in these pieces of work.

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