A Symphony of Colours and Tradition: The Mastery of Kashmiri Paper Mache

Kashmiri paper mache, locally known as papier mâché, is a centuries-old craft that blends art, culture, and history in a mesmerizing symphony of color and form. Kashmiri paper mache, with its vibrant colors and intricate designs, is much more than a decorative art form—it’s a reflection of Kashmir’s soul. Rooted in a tradition that dates back centuries, this craft began as a simple practice of recycling waste paper and transformed into a celebrated symbol of artistic finesse. Originating in the heart of Kashmir’s lush valleys, this intricate art form transforms humble paper into exquisite, hand-painted artifacts—ranging from decorative boxes and vases to elaborate wall hangings. Each piece, whether a delicately painted box or an ornate vase, carries the essence of Kashmir’s heritage, with motifs inspired by the region’s natural beauty and cultural stories. Handcrafted by skilled artisans who often spend days perfecting their work, Kashmiri paper mache is a labor of love passed down through generations. It’s not just about creating beautiful objects, but about preserving a rich cultural narrative, one brushstroke at a time. In a world increasingly dominated by mass production, this ancient craft continues to stand as a testament to the patience, creativity, and spirit of a people deeply connected to their history.

Objects decorated with paper mache technique; (Image Courtesy: Abir Pothi)

From Ancient Hands to Modern Art: The Birth of Kashmiri Paper Mache

Handicrafts hold deep cultural and traditional significance, preserving a nation’s heritage by utilizing local resources and safeguarding age-old skills. Among the many crafts of Kashmir, papier-mâché stands out as a particularly important art form. Derived from the French term meaning “chewed paper,” papier-mâché involves shaping paper pulp into various forms, which are then intricately decorated with colorful designs.

Kashmir has long been renowned for its expertise in papier-mâché production, particularly in creating ornate items such as pen cases. This craft has been passed down through generations and is considered a symbol of the region’s artistic heritage. The process involves molding paper pulp into desired shapes, followed by embellishment with lacquer, gold, silver, and vibrant dyes, resulting in stunning products like pen boxes, bookstands, picture frames, soap boxes, and trays. Papier-mâché was also historically used in place of plaster for decorative ceilings. This rich artistic tradition was introduced to Kashmir by Persian and Central Asian artisans and continues to thrive today.

Box decorated with paper mache; (Image Courtesy: Gaatha)

Two intriguing stories suggest how the papier-mâché technique found its origins in Kashmir.

The tradition of papier-mâché in Kashmir boasts a rich cultural lineage, intricately tied to the development of ethnic and religious identities in the region. Its origins are closely linked to the arrival of Islam in Kashmir, which Aurel Stein notes occurred in gradual, significant phases, largely through the influence of Sufi pirs. This spread intensified in the latter half of the fourteenth century, particularly following the conversion of Rinchana, a Buddhist prince from Ladakh, to Islam, who then ruled as Sultan Sadruddin, the first Muslim monarch of Kashmir.

According to tradition, the craft of papier-mâché was introduced to Kashmir by Sultan Zain-ul-Abidin, the eighth sultan of Kashmir, who brought it from Samarqand during the fifteenth century. However, in the collective memory of the Kashmiri people, the popularization of this art form is attributed to Mir Sayyid Ali Hamadani, affectionately known as Shah-i-Hamadan. He is believed to have arrived in Kashmir accompanied by 700 artisans from Iran, who imparted their skills in various crafts, including carpet weaving, woodwork, and papier-mâché—laying the foundation for many of the handicrafts that are still cherished and practiced in Kashmir today.

There is another legend suggesting a different origin of paper mache in Kashmir. The tale of how papier-mâché gained fame in Kashmir is one of reverence, passed down through generations in local families. According to the legend, in 1398, when Timur Lane invaded India, Sultan Sikander sent his son to pay tribute to the conqueror. However, Timur broke the alliance and took the Sultan’s son hostage, keeping him in Samarkand for seven years. During his captivity, the young prince encountered skilled craftsmen from Central Asia and Persia, who had accompanied Timur to India and were stationed in Samarkand. There, he was introduced to a unique art form made from paper pulp, which deeply inspired him.

Fascinated by the craft, the prince learned the techniques of papier-mâché. Upon his return to Kashmir, after his father’s death, he ascended the throne and introduced this newfound art to the local craftsmen. Under his guidance, the craft flourished, becoming an integral part of Kashmir’s artistic heritage and eventually reaching its zenith in the region.

Papier-mâché Interior of Shah-e-Hamdan; (Image Courtesy: Wikimedia Commons)

The craft of papier-mâché is primarily practiced by the Shia sect of Kashmiri Muslims, who have long been the traditional artisans in this field. Many of these craftspeople can trace their ancestry back to those who migrated with Shah-i-Hamadan from Iran. While some have documented proof of their lineage and migration, others depend on oral histories and legends to establish their roots. Many artisans assert that even if they cannot trace their lineage directly to Iran, their ancestors were trained by Persian artists. In this way, the craft not only endures but also reinforces Kashmir’s historical connection and emotional ties with Iran.

This craft is referred to as kar-i-qalamdani, or pen-case work, as it is primarily used to adorn pen cases and small boxes. It is also known as kar-i-munaqqash, meaning painted work. The fundamental technique involves applying papier-mâché to woodwork, with notable examples found in Kashmir at the Madin Sahib Mosque, built in 1444, the ceiling of the Shah Hamdan Mosque, and the Shalimar Garden, a famous Mughal garden in Srinagar. The tradition of using papier-mâché or pulp on woodwork, intricately painted with vibrant motifs, continues to thrive today. Some of the classic styles, such as “Arabesque,” “Yarkand,” and “Hazara,” feature elaborate designs, including depictions of kingfishers, maple leaves, and other intricate patterns.

Madin Sahib Mosque, Srinagar; (Image Courtesy: Wikipedia)

The Artistic Bloom of Papier-Mâché: A Craft Reimagined

During the Mughal era (1586-1752), the papier-mâché industry experienced significant growth, fueled by the opulent lifestyle of the Mughals, which provided ample opportunities for Kashmir’s artisans, particularly papier-mâché artists. The art form was skillfully applied not only to paper objects but also to wood, showcasing the versatility of the craft. According to Bernier, the interior of the black marble summer house in Kashmir’s Shalimar Garden was lavishly painted and gilded. He noted that most Mughal furniture, including bedsteads, palanquins, elephant howdahs, tent poles, and the emperor’s field thrones, was adorned in a similar fashion.

Mughal-themed Kashmiri paper mache box; (Image Courtesy: The India Craft House)

In the Karkhanas of the Mughal court, numerous Kashmiri papier-mâché artists likely practiced their craft. Bernier mentioned that one of these workshops housed goldsmiths, painters, varnishers specializing in lacquer work, embroiderers, tailors, shoemakers, and weavers capable of producing muslins so delicate that they often wore out in a single night.

Additionally, some papier-mâché pieces were commissioned directly from Kashmir. In 1823, William Moorcroft learned that the papier-mâché industry had flourished under Mughal patronage, employing a large number of craftsmen who regularly sent their samples to Delhi for the emperor’s review. Moorcroft was shown several examples, including a set of patterns painted on planks submitted to Emperor Aurangzeb, who particularly favored a style known as subz-kar, characterized by foliage arranged against a gilded background and highly varnished for an exquisite finish.

During Moorcroft’s visit to Kashmir, the elaborately decorated elephant howdahs and palanquins that Bernier had described from Aurangzeb’s reign were still being crafted, and the talented papier-mâché painters continued to be sought after for embellishing the ceilings and walls of various buildings.

Paper Mache Kashmiri Mughal Naqashi Wall Plates; (Image Courtesy: Me Meraki)

In traditional Kashmir, the demand for pen cases remained constant, as munshis—clerks, scribes, accountants, secretaries, and other white-collar professionals—carried a pen case or a scroll of paper as symbols of their profession. This enduring need kept the craft of papier-mâché alive and flourishing. The art, largely practiced by the Shia sect of Kashmir, became deeply rooted in the cultural and professional fabric of the region, with artisans perfecting their skills over generations.

In his book The Valley of Kashmir, Lawrence remarks on the designer’s exceptional skill in sketching and creating intricate patterns. He notes that “the art of papier-mâché is predominantly practiced by the Kashmir Musalmans of the Shia sect,” who exhibit a relaxed attitude similar to that of the Shias in Persia. This openness has allowed them to embrace their craft more freely, unlike other Muslims who adhere strictly to Islamic laws prohibiting the depiction of men and animals for fear of idolatry.

Brigid Keenan, in her book Travels in Kashmir, highlights the flourishing of the papier-mâché craft during the Mughal era, noting that the lifestyle of the Mughals provided ample opportunities for Kashmir’s craftsmen, particularly papier-mâché artists, who painted on wood with the same skill as on paper. Many Kashmiri artisans were likely employed in the workshops of the Mughal court in India. William Moorcroft, who visited Kashmir in 1819 during Ranjit Singh’s rule, reported that the papier-mâché industry thrived under the Mughals, employing a significant number of craftsmen who regularly sent samples of their work to Delhi for the emperor’s approval.

Following the Mughal period, the Afghans took control in 1753, imposing oppressive taxes and harsh conditions on artisans, which severely impacted craft production. During the Sikh rule, the situation worsened, leaving craftsmen even more vulnerable to exploitation. When Moorcroft visited Kashmir during this time, he observed that the number of papier-mâché artisans in Srinagar had dwindled to just forty, producing approximately 1,000 pen cases annually.

The situation shifted again with the onset of Dogra rule in 1846, during which colonial influences began to shape the craft. The rise in popularity of Kashmiri Pashmina shawls in Europe led to exquisite shawls being packaged in beautifully crafted papier-mâché boxes, which were sold separately and transported as far as France. The evolution of craftsmanship in Kashmir reflects the broader historical changes within its capital city, Srinagar.

Boxes decorated with paper mache; (Image Courtesy: AuthIndia)

Throughout the 19th century, several French agents were active in the Kashmir Valley, primarily involved in the trade of pashmina shawls. Although their focus was on shawls, they inadvertently boosted the papier-mâché industry as well. The shawls sent from Kashmir to France were often packed in beautifully crafted papier-mâché boxes, which, once in France, were sold separately at high prices. Over time, these papier-mâché items found their own market in France and across Europe. Soon, along with boxes, papier-mâché flower vases became highly sought after in the French market.

The French influence on Kashmiri artisans was so significant that the term “papier-mâché” replaced the traditional name of the craft in its place of origin. However, this influence also had its drawbacks, particularly in the designs and color schemes, which were altered to suit European tastes at the demand of the French agents. This shift led to the introduction of styles that deviated from the traditional aesthetic of Kashmiri papier-mâché.

The Intricate Artistry of Papier-Mâché: A Closer Look at Fine Details

Papier-mâché craft involves a meticulous process divided into two phases. First, the sakhtasaz artists create the base structure of the craft, which is then handed over to the naqqashi artists who focus on designing and polishing the piece. These two groups work closely together, with the final product reflecting their collaborative efforts, needs, and artistic vision. Traditionally, the karkhana (workshop) was not only where the craft was produced but also where it was sold, a strategic setup for the artisans. Sufi notes that Kashmiris skillfully utilized the long, harsh winters by turning their homes into hubs of cottage industry. The karkhana was often located within the artisan’s home, allowing women and children to participate in the craft-making process.

Over time, however, a divide emerged between the karkhana and the dukaan (shop). Today, while papier-mâché shops are found in commercial areas, the workshops remain concentrated in neighborhoods with predominantly Shia populations, often in the homes of the craftsmen. Though family involvement has lessened, women still contribute by polishing finished products and layering velvet inside the items. They may also assist in design work, although the primary designing is typically done by the head craftsman.

Abdul Hamid, a papier-mâché artisan with 25 years of experience, describes the process: “Used paper is soaked in water until it disintegrates, then it’s pounded and mixed with an adhesive solution, molded into shape, and left to dry before being painted and varnished.” The surface is first coated with white paint, followed by the application of intricate patterns in colors like crimson, green, and blue, using a fine brush.

Pounding of paper; (Image Courtesy: Free Press Kashmir)

Common motifs include flowers and curved designs, often inspired by Kashmiri shawls. The season plays a crucial role in the craft’s production, as artisans like walnut woodcarvers, carpet weavers, and papier-mâché artists prefer to work in the summer months when the longer days and better light are essential for the precision required in their work.

Moulding of paper; (Image Courtesy: Free Press Kashmir)

The skilled artisans involved in this intricate process are known as sakhta makers. They work with a blend of discarded paper, fabric, rice straw, and copper sulfate to create the base for papier-mâché. The paper is soaked in water for 4-5 weeks before being pulped and dried. The dried paper is then ground into powder, a common practice to assist in coagulation. Kashmiri papier-mâché has two key stages: Sakhtsazi and Naqashi. Sakhtsazi refers to the creation of the object’s foundation from paper pulp, while Naqashi involves painting and decoration.

In the Sakhtsazi phase, the paper pulp is soaked for three to four days and then ground in a stone mortar until it reaches a uniform consistency. The pulp is left to dry in the sun before being mixed with atji, a rice-based adhesive. The mixture is shaped around a mold, traditionally made of clay or wood, and removed before it dries completely. The object is then lacquered to smooth the surface, and a thin layer of butter paper is applied to protect it, preventing the paint from cracking during the finishing process.

In the Naqashi phase, the object receives a base coat of paint, followed by intricate hand-drawn designs, ensuring each piece is unique. Traditional artists often use colors derived from mineral, organic, or vegetable sources.

Drawing of motifs; (Image Courtesy: Free Press Kashmir)

In some cases, the powdered paper is combined with rice water, and the pulp is shaped using molds made of wood or brass. Historically, artisans would craft their own molds from clay. Rather than pulping the paper, it was softened and applied in layers over the mold, with each layer dried before the next was added. A muslin cloth would then be placed over the layers, followed by an application of a substance similar to the plaster of Paris, known locally as gutchi, during the wet stage.

Artistic Narratives: The Motifs and Symbols of Kashmiri Papier-Mâché

Traditionally, the paints used in Kashmiri papier-mâché were created from natural pigments and minerals, a labor-intensive process. The base coat, or zameen, was often metallic and made from gold, silver, or tin. Fine particles of these metals were mixed with glue, applied to the surface, and allowed to dry before being burnished with an agate stone for a smooth finish. Amber varnish was lightly rubbed onto the surface, and while still wet, verdigris powder was sprinkled to achieve a greenish-blue hue. Tin or gold foil was also used to add a subtle sheen, while a lacquer preparation was applied to produce a red effect.

Many pigments were imported, but Kashmir itself provided black from walnuts, as well as essential components like linseed oil, which when combined with gum resin, formed varnish. White lead was sourced from Russia, verdigris from Surat or Britain, and lapis lazuli from Yarkand for ultramarine blue. According to William Moorcroft’s 1800 travelogues, brushes made from the hair of Pashmina goats and pencils from cat fur were used for painting.

Unfortunately, the use of natural pigments has diminished over time due to the commercialization of papier-mâché, leading to the widespread adoption of synthetic colors and varnishes.

The Naqqashi designs in papier-mâché are intricate, requiring great skill and precision. The painting style is of two types—raised and flat. Raised designs resemble relief work, with birds and butterflies often depicted in a three-dimensional manner among flowers and foliage on a flat surface. The patterns are sketched freehand by the master Naqqashi, while assistants help fill in the colors at various stages. The master then completes the work by outlining the designs, and the final piece is coated with varnish. This painting technique was also applied to woodcarvings, particularly for windows, Khatambandh ceilings, and furniture.

Due to the fragile nature of papier-mâché, objects from before the 19th century are rare. However, the continuity of the craft since the 15th century is evident from historical sources like the travelogues of William Moorcroft and the French traveler Bernier in 1665. Some fine examples of early Kashmiri papier-mâché are preserved at the Victoria & Albert Museum in London.

The intricate art of Kashmiri papier-mâché involves transforming paper pulp into stunning artifacts, adorned with lifelike depictions of kingfishers, maple leaves, and other elegant motifs. Nature plays a central role in the designs, with flowers, birds (especially kingfishers and bulbuls), and various animals frequently featured. Scenes from history, hunting, and battle, inspired by miniature paintings, also grace these exquisite works.

Motif; (Image Courtesy: Free Press Kashmir)

In modern times, Kashmiri papier-mâché has become even more refined, incorporating real gold and silver paints along with intricate decorative patterns. The traditional designs, often inspired by Persian aesthetics, prominently feature motifs like ‘Arabesque,’ where golden sprays of rose blossoms are set against brown or red backgrounds, and ‘Yarkand,’ a spiraling design with golden rosettes and white flowers woven into the gold scrollwork. Some pieces, such as bowls and vases, are lined with brass, while others, made to special order, are ornamented with gold and silver leaf, depicting serene landscapes or iconic elements like houseboats that are integral to Kashmiri life.

Today, Kashmiri papier-mâché ranges from Christmas ornaments to coasters and includes boxes of various sizes and shapes. These creations are not only artistically decorated but are surprisingly lightweight, durable, and water-resistant due to the lacquer coating.

Some of the most popular traditional patterns include:

– Hazara: Known as the ‘thousand flowers’ pattern, it showcases an array of blossoms, from roses to irises and hyacinths, either in vibrant colors (rangbasta), monochromatic tones, or achromatic shades.

– Gul-i-Wilayat: Translating to ‘foreign flowers,’ this design features flowers, stems, and foliage, often accompanied by birds.

– Gulandergul: A floral pattern with bunches of flowers layered one behind another.

– Badam Tarah: Representing the almond shape, this motif, widely seen in Kashmiri Kani shawls, has become synonymous with Kashmiri craftsmanship and is also known as the paisley.

– Chinar: This design is inspired by the five-pointed leaf of the Chinar tree, a symbol of Kashmir, making it a popular souvenir motif on papier-mâché items.

– Sarav: Featuring the cypress tree in a tapering form, the Sarav pattern is delicate and detailed, often including buds, flowers, fruits, and birds.

– Zambuk: Resembling the Chinar leaf, the Zambuk pattern is done in gold or silver and often includes colorful birds.

– Sonposh: Any motif or pattern rendered entirely in gold, such as Hazara Sonposh, where the ‘thousand flowers’ are done in gold.

– Bagaldar: Motifs placed side by side, forming ornate clusters in a decorative design.

– Zarad Gulab: Depicting yellow roses and other flowers like panchbargi, sosan, and kalder in yellow hues.

– Phulai: A design with tiny flower clusters, often showing panchbargi, tchubargi, trebargi, and ikbargi on branches or in bunches.

– Tcheen: A pattern featuring flowers of the apple tree in shades of the same color.

– Darazland: A variation of the Phulai with larger, more colorful flowers.

– Borders (Haashiya): These border designs traditionally include calligraphic patterns, with motifs repeated in a sequence, often featuring geometric abstractions in gold against black, known as Gondur, or space fillers called Tyond.

– Kaleen: Carpet design

– Kashan: a carpet pattern named after a city in Iran

– Jamavar: (a traditional Kashmiri shawl)

Flower motif; (Image Courtesy: Free Press Kashmir)

These time-honored designs continue to breathe life into the craft of Kashmiri papier-mâché, celebrating the region’s artistic heritage and creativity.

Beyond these, various themes and narratives inspire additional motifs. Some depict famous historical figures—kings, queens, pirs (spiritual guides), mureeds (spiritual seekers), and legendary lovers like Shirin and Farhad—as well as political conflicts.

Mughal-era designs are another popular motif category, featuring scenes from the lives of emperors like Shah Jahan and Akbar, and tales of Noor Jehan. More recent additions, such as elephants and Indian village scenes, cater to the tastes of foreign tourists. Animal motifs and wildlife scenes form the popular Jungle design category. Other motifs draw inspiration from philosophical themes, historical events, and religious stories of widespread interest. Poetic imagination also plays a key role, allowing artisans to incorporate elements of fantasy and creative interpretation into their designs.

Walter Lawrence, in The Valley of Kashmir, expresses admiration for the intricate designs created by naqqash artisans on craft items. He notes that much of this artwork is accomplished without the aid of mathematical instruments. While papier-mâché continues to depend on freehand drawing and painting, it also integrates techniques from other traditional painting forms. One such technique, called abina, involves moistening the paintbrush with plain water to create sketches. Once dried, these sketches leave a watermark impression that serves as a guide for subsequent painters.

Another important technique in papier-mâché is the use of elaborate hashiya (borders), often embellished with gold paint. Traditionally, the hashiya was the panel where tasveer (pictures) and khush-khati (calligraphy) were mounted and painted. Sufi notes that the hashiya can sometimes evolve into a standalone work of art, occasionally surpassing the painting itself in beauty. The paintings often feature verses from the Quran or Persian poetry inscribed along the length of the hashiya.

Baden-Powell, an English civil servant in pre-Independence India, observed motifs of flowers, curved designs from shawls, and figurines of men and animals on papier-mâché items throughout India in 1872. This account reinforces the idea that the papier-mâché craft has significantly contributed to Kashmir’s cultural exchanges with the outside world. Pandit Anand Kaul, in his article The Papier Mache Industry, mentions that Kashmiri shawls were sent to France in papier-mâché boxes, which were sold separately at premium prices.

Box with paper mache; (Image Courtesy: Home From India)

The motifs found in papier-mâché artworks symbolize the way political history is invoked and memorialized through craft. For example, a papier-mâché box featuring motifs of soldiers on horseback playing polo can be identified as Mongol soldiers by their distinctive facial features.

The depiction of Mongols reflects the historical context of the craft’s tradition. Shah-i-Hamadan, a figure from the Sayyid community tracing lineage to Prophet Muhammad, was a contemporary of the Turco-Mongol conqueror Amir Timur (Taimur-i-Leng). Their rivalry stemmed from ideological and political differences, leading to Timur’s persecution of Sayyids in Iran. Historian Fida Mohammad Hassnain recounts that claiming to be fireproof, Sayyids were subjected to being roasted in metal furnaces by Timur. Many historical accounts suggest that Shah-i-Hamadan’s conflict with Timur was a significant factor in his migration. Thus, the portrayal of Mongol soldiers in these motifs serves as a fascinating example of how history is reinterpreted through the artist’s perspective.

Kashmiri Papier-Mâché: An Artistic Presence in Pop Culture

Kashmiri papier-mâché has made notable appearances in pop culture, showcasing its intricate craftsmanship and vibrant designs. In film and television, classics like Kashmir Ki Kali (1964) feature scenes highlighting the beauty of Kashmiri handicrafts, including papier-mâché artifacts, while modern films such as Haider (2014) incorporate these traditional crafts to emphasize the region’s rich cultural legacy against a tumultuous backdrop. The world of fashion has also embraced this art form, with renowned designers like Anita Dongre and Sabyasachi Mukherjee incorporating Kashmiri papier-mâché in their collections, using it as embellishments on clothing and accessories to blend traditional craftsmanship with contemporary style.

Additionally, various contemporary jewelry and handbag brands have utilized papier-mâché techniques to create unique pieces that reflect Kashmiri artistry while appealing to global trends. Art exhibitions, such as those at the India Art Fair, often showcase Kashmiri papier-mâché, attracting global audiences and raising awareness about this unique craft, while cultural festivals like the Kashmir Arts Festival celebrate local artisans and their work.

Box with paper mache motif; (Image Courtesy: Home From India)

Moreover, interior design has seen a rise in the incorporation of papier-mâché items such as lamps, wall art, and decorative boxes, blending traditional aesthetics with modern decor. Collaborations with brands to create limited-edition items further showcase Kashmiri craftsmanship while promoting sustainability. In literature, contemporary authors often reference Kashmiri culture and crafts, using the beauty of papier-mâché as a metaphor for fragility and artistic expression. These examples illustrate how Kashmiri papier-mâché has transcended traditional craft boundaries, enriching the artistic landscape and promoting the region’s cultural heritage across various facets of pop culture.

The Trials of Kashmiri Papier-Mâché: Navigating Challenges and Embracing Contemporary Evolution

Although Kashmiri handicrafts have gained worldwide acclaim for their beauty and sophistication, they now face significant challenges in sustaining themselves locally. After the partition of the Indian subcontinent, tourism initially provided a strong boost to Kashmir’s economy, followed closely by the handicraft sector, which depended heavily on this influx of visitors. However, the ongoing political turmoil over the last three decades has prompted many in the handicraft trade to relocate to Delhi and other international cities. As a consequence, local artisans remained, creating products that would be sold in foreign markets, turning their craft into a vital source of income for those unable to leave the Valley.

The current landscape of craft production and trade is chaotic and unstable. Many artisans in the papier-mâché industry have been compelled to seek alternative employment to make ends meet. Ajaz Shah, an award-winning artisan from Hawal, has turned to driving an auto rickshaw to support his family. Muhammad Rafiq, who has dedicated 23 years to the craft, laments that true artisans are often overlooked: “Unfortunately, people who give the final shape to the product are considered the real artisans. They (Naqqash) present themselves as the makers. They only handle the Naqqashi, while we do the real work,” he states. Another artisan from Nowpora, Mehraj-ud-Din, reflects on the bleak outlook for the younger generation: “They don’t see a future in this. Given the current state of our work, we also don’t wish for them to join this trade.”

The decline of the craft is attributed to multiple factors: a lack of supportive government policies, fierce global competition, cheap imitations, absence of patronage, an unfriendly environment, and social disregard. Moreover, the artisan community has become somewhat complacent and resistant to new ideas. This art form has been passed down through generations, with sons stepping into their fathers’ roles. While Kashmiri craftsmen strive to uphold the traditions of papier-mâché, continuing to produce these exquisite creations by hand in small family workshops, the rapid advancements in technology and evolving economies pose a threat to its future. The younger generations, increasingly worldly and informed, are less inclined to embrace this art form.

Man moulding pulp for paper mache; (Image Courtesy: Free Press Kashmir)

Despite these challenges, there is a burgeoning awareness among Kashmiris regarding the necessity of preserving this art for future generations. Notably, the industry has seen a gradual transition from traditional materials. In the late 19th century, wooden boxes made from silver fir (budloo) began to replace paper pulp boxes. By the 20th century, the use of mashed paper and wood was supplanted by ghata (paper board sheets). Consequently, today, very few items sold in the Kashmiri market under the guise of papier-mâché are actually made from the original mashed paper. In essence, what is currently referred to as papier-mâché—both locally and in broader markets—has shifted to the art of naqashi, characterized by intricate floral, geometric, and figurative designs painted on lacquered items.

Conclusion

Kashmiri papier-mâché is not merely a craft; it embodies centuries of history, culture, and artistry that reflect the soul of Kashmir. From its intricate designs inspired by nature to its rich symbolism intertwined with local narratives, this traditional art form has enchanted admirers around the globe. Yet, despite its beauty and legacy, the craft faces numerous challenges in the modern world. Political upheaval, economic shifts, and changing cultural values threaten its survival. As artisans struggle to maintain their livelihoods amidst an evolving marketplace, there emerges a poignant reminder of the importance of preserving this exquisite craft. The collective efforts of communities to keep the spirit of papier-mâché alive resonate with the urgent call to cherish and promote Kashmir’s artistic heritage. By bridging the past with the present, there lies hope that the art of papier-mâché will not only endure but also flourish, inviting new generations to embrace and innovate within this cherished tradition.