Echoes of Elegance: The Journey of Pinjirakari in Kashmir
Pinjirakari is the art of creating beautiful latticed wooden screens, whereby the wooden strips get interwoven to form beautiful geometric shapes. This is usually done in the architectural features of windows, partitions, balconies, and ventilators. The designs originate from Islamic geometry, where three basic shapes are obtained from circles to triangles, squares, and hexagons. Each shape has its symbolic meaning, that is, the triangle indicates human consciousness and unity, the square is an important point in the physical realm or materiality, and the last one is the hexagon, which indicates Heaven. Among various traditional crafts in Kashmir, pinjirakari is a very renowned craft of latticeworks. Here this very beautiful art is done by carving light deodar wood into very tiny strips that can be transformed into multiple repeating geometric patterns of assembly into larger structures. This wooden artwork does not require glue; all pieces are glued together by precise joinery and mutual pressure put by the elements upon each other. Thus, it showcases the skill and precision of artisans.
Source: Outlook Traveller
Tracing the Roots: The Origin of Pinjirakari in Kashmir
The craftsmanship of Pinjirakari, wooden latticework in Kashmir, is supposed to have been derived when ‘Mashrabiya’ was created in Central Asia around the 12th century. An Arabic word, Mashrabiya means a type of wooden framework, intricately carved, used for an oriel or projecting window at the second story or above, other times adorned with stained glass. This is always a part of traditional Arabic architecture from the Middle Ages to the mid-20th century.
But in Kashmir, it is Purely a form of the ornament of wood, whether in fences or doors, as railings, in ventilators, separating rooms, in screens, or window partitions. It was historically a veiled screen for women because of religious customs that prohibited women’s public visibility. This art is usually observed in different kinds of geometric designs within many of those wooden structures.
Source: Outlook Traveller
Two historical accounts exist as to the etymology of this term. One of them is that it is derived from the small wooden shelf hung to cool the drinking water pots kept up near windows; gradually, a tapered version evolved into a fully enclosed part of a room but still retained the same name. The other one is associated with emperor Zain-ul-Abaldin. He developed many such works in Kashmir, not linking them with enough craftsmen from Central Asia. In present times, pieces of Pinjirakari continue to be set in doors and serve as ornamental partitions and screens.
The Growth of Pinjirakari Craft in Kashmir
Jammu and Kashmir are renowned for woodwork due to the multiplicity of trees in that region. The area enjoys a rich heritage of wood carving, which is much evident in the architecture. Historical accounts talk about a 12-storeyed wooden palace in Srinagar destroyed by invasions in the time of King Harsha when they set it ablaze. Woodcraft started flourishing after 1028 A.D. and continued to be much admired over the years for its architectural elements. New palaces called Razdanis were constructed at the bank ends of the Vitasta (Jhelum) River close to the dense forests of Tashwan, giving easy access to wood.
During King Ananta’s reign (1028-1063), a palace on the river’s left bank displayed some fine ornamentation in wood. The illustrious Kashmiri author of the 11th century, Bihana, praised the wooden architectural features in his epic Vikramankadeva Charitam. During the reign of King Jayasimha (1128-1140), free access to wood from the forest was offered to the subjects by him, due to which, in that period, several wooden houses were built in his region.
Source: Gaatha
Although unknown to many outside Kashmir, it holds many eminent crafts, most of which have a Persian origin. In the 14th century, a Sufi saint, Sayyid Ali Hamadani, came from Hamadan into Kashmir with around 700 followers, making a huge influence in the valley by converting people to Sufi Islam. He also brought famous artisans with him who taught the Kashmir people many new handicrafts, such as fine woodcarving. Most Kashmiris adopted and improved these talents, and these techniques are still used today. For instance, one from the Madin Sahib Tomb at Srinagar built in the 15th century has carved lattice scrollwork instead of geometric patterns. Thus, it indicates that this craft in lattice existed in the time of Zain-ul-Abadin, although no wooden work from this period has survived, may have helped create wood bases later.
Woodcrafts reached an artistic zenith during the reign of King Zain-ul-Abadin. An all-wood palace was built in Naushahr with twelve stories comprising fifty rooms, halls, and corridors culminating in a golden dome, and glass-lined. This tradition of wooden architecture prospered among the Sultans, particularly under Zain-ul-Abadin attracting master artisans from different regions. As per the court chronicler Pundit Srivara, Zain-ul-Abadin provided all necessary amenities to these skilled artisans which resulted in the popularization of arts and crafts in Kashmir. He also constructed another palatial building in Zainagiri, known as Zain Dab- later destroyed by the Chaks, which bore testimony to the region’s rich skill and heritage.
Source: Kashmir Observer
With this, stone architecture returned during the Mughal period to monumental buildings, framing screens with stones instead of wood, following Mughal patterns, like the Madrassa and the mosque of Mulla Akhun. Still, the wood screenths persisted. Bernier, coming to Kashmir during the suzerainty of Aurangzeb, mentioned the houses of the king and nobles which had latticed doors that shielded the beautiful ladies of the harem from view. The Jamia Masjid of Srinagar, built at the same time, used many of the earlier lattice works.
Another highly developed craft is that of latticework in Kashmir. Authentic Pinjirakari work does not use glue and nails; the pieces are held together by the pressure they exert on each other. This very complicated latticework is termed zari-Pinjira or acchi-dar. Walnut wood carving, later influenced and popularized via European designs, was much sought after later. Complexity in woodwork, it is said, has evolved over crafting boats, like Rangoon and Peshawar. Up to the 20th century major roads linked the important towns of this region.
Intricate Details of Pinjirakari Craft in Srinagar
The large structures for worship during the Sultanate period made extensive use of wood. These were massive buildings with not only wooden construction but sometimes with stone and brick masonry as well to create the monumental buildings still extant today. Such buildings had wooden ceilings, walls, doors, cornices, and facades on balconies. Common houses in medieval Kashmir were built of wood and were thus very beautifully decorated. As Mirza Haidar described: “In the town, there are many lofty buildings constructed with fresh-cut pine. Most of these are at least five stories high; each storey contains apartments, halls, galleries and towers. The beauty of their exterior defies description and all who behold them for the first time bite the finger of astonishment with the teeth of admiration.” The pinjirakari works as a veil screen for women; one would be able to see it from inside the house but not from outside. This design is based upon the principle of being a jaali, that is, it allows to be seen through only from a shorter distance and is difficult to see through from afar. Similarly, the wood was used by every social stratum-peasant, king, and boatman-and hence evolved methods specific to those different classes for different applications of wood.
As Central Asian rulers arrived in Kashmir, they brought customs, religion, traditions, and culture into that land. Islam by itself would not allow a woman to go public without covering her completely, and it would bar her from attending occasions or celebrations physically. It is widely believed that in the 12th century a prince, who had very deeply loved his queen, never turned down a request made by her. When she expressed her wish to hear the audience sittings of the royal court, the king immediately could not refuse but approached his court and summoned the master architect of the land.
Source: Gaatha
The architect was appointed a huge fee and made that wonderful and exquisitely crafted wooden latticework over the court hearing hall into his job. It allowed anyone on the darker side of the window to see everything on the brighter side, with the condition that the other person could not perceive the same features. On the brighter side, one could see a silhouette of a person standing next to the window on the other side. The king was, therefore, much pleased on both counts: the moral code of his religion was followed, and his lords were given access to the wife. This was a frequent occurrence anywhere the queen went. When his descendants came to India from Persia, they also brought along highly skilled carpenters who introduced the craft to the art of wooden latticework which became popular in Kashmir as Pinjirakari.
Pinjarikari occurs as a constituent of Kashmiri aesthetics and finds mention in the romantic folklore and verses of the region. For example, the lines, “Zaile pinjre tile nazar trav, Bali asimi tamblav”, mean, “Bestow upon me one glance from behind the Pinjira. Oh young beauty, pray do not tantalize me.”
Motifs and Symbols in Pinjirakari
Pinjirakari has many different kinds of popular designs from very traditional to very contemporary. Among the most popular patterns are “Rising Sun” and “Cobweb”. Other well-known designs include Posh Kandur, Chahar Khana, Sadah Kandur, Shash-Tez, Shash-Sitara, Shash-Pahlu, Dwazdah Sar, Shekh Sar, Jujjari, Shirin, and Totah Shesh Tez. Typically, these designs are related to the mathematical geometric patterns that Arabs and Central Asians usually apply.
Kashmir’s ancient Hindu and Buddhist structures were predominantly built using stones, while mosques and shrines constructed later were entirely or partially built of wood and had beautifully carved woodwork. Examples of such artistry include Khanqah-i-Mualla, the shrine of Makhdum Sahib, Jamia Masjid Srinagar, and Khanqah-i-Naqashband in Srinagar. Even when the buildings are partially built with brick masonry, wood is prominently featured in their structural and decorative elements, such as pyramidal roofs, balconies, verandahs, arcades, porticoes, paneled walls and painted ceilings. The woodwork of lattice, Pinjirakari, contributes significantly to the charm and beauty of these monuments.
Long ago, the primitive Hindu and Buddhist buildings in Kashmir hardly displayed any stonework. Most of the mosques and shrines that came to be built afterward display either entirely wood constructions or carvings of wood. Prominent works of wood are the Khanqah-i-Mualla, the shrine of Makhdum Sahib, Jamia Masjid, Srinagar, and the Khanqah-i-Naqashband in Srinagar. Such buildings have remained even partially built in brick masonry but prominently feature wood in their structural and decorative elements like pyramidal roofs, balconies, verandahs, arcades, porticoes, paneled walls, and painted ceilings. The woodwork of lattice, Pinjirakari, adds to the beauty and charm of these monuments.
Source: Gaatha
They consist of a beautiful jaali made of tiny pieces of wood connected through various joints within the wooden framework, without glue in practice. Joining is done with dowel joints, mortise, and tenon joints, or halved joints, and those for bigger pieces are rarely wooden screws. Crafts made in great precision allow perfect fits without much binding as sustained through the stress, strain, weight, and force they all bring to each other. While the hottest jaalis may be provided externally with more strength, they can also very well be used without such framing. The expertise of the artisans was geometry and mathematics passed from the ancestors who, to them, modeled the available shapes and then continued researching and developing tessellated patterns inspired by geometry, calligraphy, and vegetation.
Traditionally, the lattice is diagonally crossing, where pieces are arranged to form a continuous pattern or at least an aesthetically interesting one. Another widely used form is checkerboard lattice, which employs a combination of vertical and horizontal patterns of lathes, although it can be a little more decorative and choice personal. By the rules of ornamentality, some of the magnificent sculptural work can even be termed as latticework since they pierce or cut into solid sheets of wood or metal depicting the scenes into some stylization or abstract geometric forms. This is mainly common in the Middle East, and one can also find similar ones in India. Many of the museums celebrating Middle Eastern and Asian art will have some good examples of this wonderful work in the galleries.
Pinjirakari in Modern Popular Culture
Pinjirakari, the very complex art form of wooden lattice decors from Kashmir. This beautiful art has travelled into various aspects of interior design adding some culture to the environment. It is now one of the most common art for house interiors, restaurants, and hotels around the world.
These panels feature Pinjirakari designs and work well on accent walls for living rooms, bedrooms, and offices. These types of wall paneling and cladding add texture and depth to spaces, making them more interesting and inviting to the eye. Furniture accessories majorly consist of coffee tables, locators, head-boards, and bed frames. All these accessories are ideal and practical for use with Pinjirakari yet well-blended with traditional craftsmanship and modern utility. Not only do these accessories purport the idea of utility, but they add up the richness culture and accentuate the decor. However, this form of residence is more popular with boutique hotels and heritage properties where authenticity is of paramount importance. balconies and verandahs enhanced by Pinjirakari lattice work happily complete the exterior of buildings. Art of wooden latticework from Kashmir, has now entered in all aspects of interior designing, adding sophisticated cultural depth to spaces. This beautiful art form has made its way into homes, restaurants, and hotels around the world.
Source: Gaatha
One of the obvious applications of Pinjirakari is using decorative screens and partitions. Besides acting as room dividers or barriers, these items also serve as wonderful focal points for allowing light to pass through while protecting privacy. They add traces of traditional craftsmanship to the modern interior, offering a blend of time and space, old and new. Pinjirakari Lattice Work is popularly used in various types of window treatments to create beautiful compositions with light and shadow effects. It constitutes a very artistic feature in the room under consideration, beautiful and attractive as it makes the windows an interesting item in the room. Hinged Pinjirakari doors/cabinets are valuable delectation to your interior spaces. Suitable for main entry, interior doors, or cabinets, the beautiful intricate lattice designs add a heritage feel to these spaces, interesting to talk about.
Designer innovativeness now brings the fine Pinjirakari pattern even on the lighting fixtures. Pendant shades with lattice designs and chandeliers as well as lamp shades create a beautiful play of light and shadow for a cozy artistic ambience in any space. Standalone objects of Art in Pinjirakari like framed latticework and hanging sculptures can indeed be stunning eye-catchers. These pieces reveal the fine craftsmanship imparted to Pinjirakari art thus adding to interiors a note of traditional artistry among the modern ones. By bringing such elements in every little detail of interiors, the designers pay due homage to the magnificent art heritage of Kashmir while at the same time making the space beautiful, yet functional. No wonder Pinjirakari shall ever be a popular choice for all those seeking an element of tradition and elegance within the spaces.
Pinjirakari Examples in Interiors:
Hotel Lodhi: Pinjirakari partitions and screens are installed creating warmth and privacy in luxury suites of the hotel.
House of MG: The heritage hotel has included Pinjirakari screens in its ornamentation, complementing the old art of craftsmanship with that of modern luxury.
Boutique Homes in Srinagar: Many homes in Srinagar show Pinjirakari at the interiors while keeping the warmth of art alive in an inviting atmosphere.
So in Indian interiors, this craft is a testament to the fact that it is timeless beauty and the legacy Kashmir leaves behind through its rich artistic heritage. It does intrigue and inspire always, whether by way of screens, windows, furniture, or even lights, thus keeping a bridge between tradition and modernity.
Challenges to the art of Pinjirakari
Pinjirakari’s intricate techniques were localized in family-based, closed workshops, which had been passed on from one generation to another. By the mid-1990s, however, the increasing expense and the disinterest among younger clan members threatened these age-old traditions. So, almost the craft has now ended and many of the works present today have vanished from old houses. The once fine screens now portray sad tales of neglect in the now dilapidated houses of Srinagar’s old city. Under such current conditions, it is unbelievably difficult to restore this art form in modern times. A hope, however, remains: if strong measures are taken, whatever remains can still be preserved in Muslim shrines and traditional house examples in the old city.
Preserving and conserving Pinjirakari will require modern scientific methods. This will encompass not only rehabilitation of the surviving artifacts but also public education on the craft. It would involve the younger generation learning the unique heritage and living the life of Pinjirakari as it continues into the future. Partnerships with cultural and heritage organizations and support in funding conservation projects can bring resource access for the protection and restoration of such invaluable pieces. Pinjirakari can be integrated into cultural tourism and showed in museums and exhibition places to trigger global interest in this traditional craft.
Source: Gaatha
It’s a revival, however that relies solely on a social consensus to consider Pinjirakari of high cultural importance and invest time and efforts into its protection. All these will save this stunning latticework heritage for the good people to love and cherish for long into the future.
Conclusion
In conclusion, Pinjirakari stands testimony to the richness in Kashmir’s cultural and artistic heritage. This craft of wood latticework intricately interweaved by its roots, which goes as far as Central Asian influences and Islamic geometry, adorns the architectural landscapes of Srinagar with pride, and for centuries it has continued to do so. Rising costs, dwindling interest, and fading into obscurity—beating all of these are challenges that the Pinjirakari has encountered in the modern era yet remains a symbol of craftsmanship and tradition.
It is not just a question of keeping up a decorative art form but a cultural heritage to be preserved through generations. All attempts to revive and sustain this craft would include educating the younger generation, supporting artisans, and incorporating Pinjirakari into contemporary design and cultural spaces. By recognizing its historical significance and aesthetic beauty, we can ensure that Pinjirakari remains a vibrant part of Kashmir’s identity.
As we look to the future, the delicate patterns of Pinjirakari remind us of the importance of preserving our cultural heritage. If we work collectively and develop an appreciation for this art form, then the legacy of Pinjirakari will continue to inspire and captivate generations ahead.
