Kashmiri papier-mâché is a traditional handicraft from Kashmir involving transforming paper pulp into decorated artifacts. It has a long cultural history dating back to the 15th century when craftsmen from Iran introduced the techniques. The craft involves two main steps - forming the object from paper pulp and then painting designs. Common motifs depict nature such as flowers and leaves. However, the craft has declined in recent decades due to political unrest and economic challenges, impacting artisans' livelihoods.

1. TOPIC- Kashmiri Papier-Mâché
PRESENTED BY :
ARISH ZEHRA
B F Tech
NIFT, JODHPUR.

2. “Creativity is contagious, pass it
on”,
once said Albert Einstein.

3. 1
Contents
1. ABSTRACT 2
2. INTRODUCTION 4
3. A BRIEF HISTORY 4-5
4. EVOLUTION 5-6
5. CURRENT SCENARIO OF THE CRAFT 7-8
6. RAW MATERIALS 8-9
7. TOOLS USED 9-10
8. MOTIFS 10-11
9. HOW IS IT MADE? 12-13
10. END PRODUCTS 13-14
11. FAMOUS ARTISANS 14
12. CHALLENGES FACED BY ARTISANS 15
13. MARKET SEGMENT 15-16
14. REFERENCES 17
15. CONCLUSION 18

4. 2
ABSTRACT
Kashmiri papier mache is one of the most famous handicrafts from Kashmir which is well
known worldwide. The craft has a long cultural lineage. It is closely associated with the
advent of Islam in the valley. The popularization of the craft is associated with Mir Sayyid Ali
Hamdaani of Iran in 15th
century.
Kashmiri papier mache is basically the transformation of paper pulp into intricately decorated
artifacts such as vases, boxes, bangels, trays, jugs and other such items. There are two main
steps involved in the paper mache craft-
1. Sakhtsazi involves making the object with paper pulp
2. Naqashi is painting the surface..
Common themes that appear on Kashmiri papier mache products include chinar leaves, flowers,
Persian roses. The motifs on the products are inspired by the flora and fauna of the valley. The
product is protected under the Geographical Indication Act 1999 of Government of India.
The Kashmiri paper mache craft is quite popular in India as well as in France, America,
Germany and Middle East countries. Due to unrest in the valley the Kashmiri paper mache craft
has witnessed a gradual decline in its production as well as export. The economic recession of
2007 along with the political situation has compelled the artisans to switch from their traditional
source of livelihood to other professions. Thirty years before over 35000 families were directly
connected to this art. However, now the business has witnessed a major drop with only 3000
families associated with it. The Shia community, predominantly from Srinagar is given credit for
sustaining this artform.

5. 3
Kashmiri papier-mâché

6. 4
INTRODUCTION
Kashmiri Paper Mache is a handicraft of Kashmir involving the transformation of paper
pulp into intricately decorated artifacts such as Paper mache boxes, bowls, elephant models,
cups, bells, trays, bangles, vases, bases of lamps and many other such objects.
Paper mache is called Kar-i-munaqqash. It is also known as Kar-i-qalamdani or pen-case work
because it was commonly used to ornament pen-cases and small boxes.
Papier-mâché is the French word for "chewed paper", which is a standard English loan word, for
objects made by moulding paper pulp in various shapes. Then decorating them with designs in
various colours.
A BRIEF HISTORY OF KASHMIRI PAPIER MACHE CRAFT
The tradition of papier mache has had a long cultural lineage, and i ts history is linked
with the formation of ethnic and religious identities in Kashmir. The beginning of the
craft of papier mache is closely associated with the advent of Islam in Kashmir. Aurel
Stein states that Islam came to Kashmir in gradual significan t phases, and spread
mostly through the influence of Sufi pirs. The process was accelerated in the latter
half of fourteenth century after Rinchana, a Buddhist prince from Ladakh, converted
to Islam and reigned as Sultan Sadruddin, the first Muslim ruler o f Kashmir. Papier
mache is said to have been brought to Kashmir by the eighth sultan of Kashmir, Sultan
Zain-ul-Abidin, from Samarkand in the fifteenth century. However, in the collective
memory of the people of Kashmir, the craft and its popularisation is associated
with Mir Sayyid Ali Hamadani of Iran, lovingly known as Shah -i-Hamadan. He is said
to have come to Kashmir with 700 craftsmen from Iran, who taught the local
Kashmiris carpet making, woodwork, papier mache and most of the handicraft work
that continues to be practised there till date.

7. 5
Papier mache craft is largely pursued by the Shia sect of Kashmiri Muslims. They
have been the traditional craftsmen engaged with this occupation . A large number of
craftspeople trace their ancestry back to the craftsmen who had migrated with Shah -i-
Hamadan from Iran. While some have documented evidence to trace their lineage and
migration, others rely on stories and legends. A number of craftspeople claim that
although they do not trace their lineage to Iran, thei r forefathers were taught by
Persian artists. Thus, in a way, the craft sustains Kashmir’s historical connection and
affective ties with Iran.
EVOLUTION
During the Mughal period in Kashmir’s history (1586 -1782) paper mache artices
included bedsteads, doors, window frames and panels for walls and ceilings.
It is said that most of the palanquins used in Mughal courts were specially brought from
Kashmir.
PAPER MACHE ON WALL
During 19t h
century a number of French agents were operating within the valley. These agents
were basically engaged in the trade of Pashmina shawls.They also gave an impetus to the paper
mache industry. The shawls which were sent from Kashmir to France were packed in paper
mache boxes. And once they reached France they were sold separately fetching high prices.
Soon, these paper mache objects found a separate market for themselves in France and other
parts of Europe. Gradually, along with the boxes, paper mache flower vases were also in
demand in French markets.
Due to French influence the traditional name of the craft was replaced in its native place. But
the French influence had its own drawbacks. In the latter part of the 19 t h
century wooden
boxes made of silver fir replaced traditional paper pulp boxes.

8. 6
Thereafter, in 20t h
century mached paper and wood was increasingly replaced by paper board
sheets. Thus, today all of the items that are sold in the market by the name of paper mache are
not made from mached paper. Indeed, what is referred to as paper mache both locally and
internationally is the art o f Naqashi or painting of various floral, geometrical and figurative
designs and patterns on the various items covered with lacquer.
Over the time there have been new innovations in the craft. Earlier designs made were plain.
Now, designs are embossed on the surface. The customer finds embossed work to be interesting.
EMBOSSED MUGHAL ART DEPICTING
MUGHAL COURT AND ARCHITECTURE
Kashmiri paper mache in gold is unique.Preparing 24 carat gold liquid for paper mache is
unique to Kashmiri artists. The design is then rubbed with a special stone which gives it an
incredulous shine. Other artists in the world just paste gold on the designs.
Calligraphy is done on paper mache plates. The addition of calligraphy,to which the Arabic,
Persian or Urdu script lend themselves well, provides an additional artistic dimension to the
craft.
CALLIGRAPHY ON KASHMIRI PAPIER MACHE PLATES

9. 7
CURRENT SCENARIO OF THE CRAFT
 “COVID19 is no longer a global health crisis only, it is also a major labour market and economic
crisis that is having a huge impact on people,” International abour Organisation’s (ILO) chief
Guy Ryder said in a statement recently. “Full or partial lockdown measures are now affecting
almost 2.7 billion workers, representing around 81 per cent of the world’s workforce,” said ILO
in its recent report on COVID19 and the world of work. The study also indicated that the
repercussion of partial and full lockdown will not produce uniform results on the labour market
and some sectors and groups will be severely impacted by COVID19 measures.

 In response to COVID19 pandemic, the Government in India is following the policy of complete
lockdown and social distancing in almost all states and union territories (UTs). Jammu and
Kashmir (J&K) was previously in the state of almost complete lockdown for more than seven
months after the abrogation of Article 370 on 5th
August 2019. J&K has witnessed such
lockdowns many times even before this, although the intensity was different during the last one.
Previous lockdowns and insurgencies have not only increased the unemployment rate
(particularly among youth) but also impacted the employment sectors of the valley. They have
given a jolt to the self-employment sector of Kashmir which is often considered vital for the
economic development during financial crises.

 Youth in Kashmir have lost their interest in choosing self-employment as their career choice and
remain reluctant and insecure for investing in this sector. They have also deterred the growth of
private sectors and many were compelled to shut their firms due to regular strikes and
lockdowns.

 The ongoing crises of COVID19 and its associated measures can impact these enterprises of
Kashmir which are the backbone of Kashmir’s economy and have generated work for the people
even during the tough times of insurgency and lockdown, very adversely. The ongoing
COVID19 crisis and its associate measures of lockdown, quarantine and social distancing can
halt the growth of the various traditional sectors of Kashmir which largely involve skill work and
such work is largely learnt and performed at the community level. It can also create livelihood
crises for the workers working in these enterprises. Thus, the previous insurgency and lockdown
align with the present crises can put a devastating impact on the economy and self-employment
profile of the people of Kashmir and on the various handicrafts including Papier Mache.*

*(https://beyondheadlines.in/2020/04/self-employment-scenario-in-kashmir-before-and-during-
covid-19-lockdown/ )
 The four-month-long security and communications lockdown post revocation of J&K’s special
status resulted in the absence of foreign orders in 2019, according to traders. The goods, including
the famed decorative bells, would even be exported to the U.S. on the occasion of Christmas.

“Last year, I prepared 600 jingles (the small bells) and chains of X-mas trees,” said Mr. Rizvi,
whose family has been in the trade for many generations. “Our exporters in New Delhi usually

10. 8
place orders between September and October. The shipping would be completed by November
and [products] hit the European markets in December. It’s lightweight and the exquisite art work
is preferred to decorate homes on Christmas. However, this year all means to communicate and
place orders were lost,” he added.
 Kashmir Chamber of Commerce and Industries (KCCI) president Sheikh Ashiq estimated that
the region’s manufacturing industry, including handicrafts, had suffered a loss of ₹2,466 crore
between August 5 and December 3.**
** The above information was collected from an article published in THE HINDU December
26, 2019. (https://www.thehindu.com/news/national/kashmir-made-papier-mache-bells-santa-
claus-missing-at-european-homes-this-christmas/article30398174.ece)
RAW MATERIALS USED-
The raw materials used in making paper mache articles usually include:
Old newspaper or any other waste paper- The basic raw material which is used to prepare
paper pulp.
Multani Mitti or clay- Multani Mitti is used as it gives a better finish to the products.
Methi(fenugreek) powder- It is used for fragrance and it also helps in keeping the product safe
from moths and other insects.
Adhesive- It is mixed in paper pulp for sticking it.
NAQASHI COLORS :
In the early days of this craft mineral, organic and vegetable colors were used. The colors would
not loose intensity, strength even if the objects were kept in direct sunlight or in water for days
together. The process of preparation of mineral colors is a painstaking effort. At the first place,
the minerals are tied in a sack/bag of cloth and moistened with water and then roughly beaten.
This broken wet material is grounded into paste on a fislab and the paste is dried into fine
powder. Finally, this powder is mixed with glue and water. The material is then rigorously stirred
till a fine color in the shape of mixture is obtained.

11. 9
ORGANIC AND VEGETABLE COLOUR SOURCES:
 White – white lead came from Russia.

 Body white – was prepared from a local stone called ‘shallaneen’.

 Ultramarine Blue – was prepared from ‘Virdigris’ (green) and ‘lapis lazuli’.

 Browns – were prepared from a clay which was imported from Armenia.

 Yellows – were prepared from a flower ‘guli ksu’ and a wild plant ‘weftangil’.

 Violet and Blue – were extracted using the indigo leaf and weed.

 Reds – were derived from cochineal, log wood and local forest wood named ‘lin’. Red was
sometime obtained from saffron.

 Light Brown- Green and dried walnut skins yielded light browns.

 Black – was produced from lamp blacks as well as from walnuts. For large and plain
groundwork, black was produced from half-burnt cow dung.
Papier Mache Miniature Chest of
Drawers
TOOLS USED-
Stone mortar- to crush paper and prepare paper pulp.

12. 10
Kathwa- is a wooden file used to smoothen the sealed joint of the artwork after it is detached
from the mold.
Kirkut- is a small piece of over burnt brick used to rub the surface of the object.
Brush- Brush plays an important role in paper mache. . Brushes used for this art form are different
from those used by painters and artists. Craftsmen make use of these special types of brushes for
producing exquisite designs. Feathers of duck or eagle and hair from the tail of the cat is used to
make brush. The hair from the tails of the cats are taken out and tied using threads
and then set in handles or the shaft of duck’s feathers.
MOTIFS:
BRUSHES
MOTIFS
The important elements in papier mache designs are objects of nature mostly flowers and birds,
particularly the kingfisher and bulbul, historical figures, animals, hunting and battle scenes, court
scenes influenced by miniature paintings. Papier mache products reflect a very subtle grammar
of motif and style. Popular patterns or design motifs are the traditional ‘hazara’ or ‘thousand
flowers’ (the pattern attempts to display every conceivable flower) and ‘gulandergul’ or ‘flower
within flower’. The chinar leaf, the iris, the Persian rose, the almond and cherry blossom, the
tulip, narcissus and hyacinth are also popular motifs. Border patterns such as gondur and tyond
are generally geometric abstracts. Among other rich designs are ‘Arabesque’, done in gold
against a brown or red ground to show sprays of rose blossoms in fine lines and ‘Yarkand’, an

13. 11
elaborate design built up in spirals with gold rosettes radiating from various centers and white
flowers laid over gold scroll work.
KINGFISHER MOTIF
CHINAR LEAVES MOTIF HAZARA or THOUSAND FLOWERS MOTIF
PERSIAN ROSE MOTIF EMBOSSED MUGHAL ART

14. 12
HOW IS IT MADE?
In the process of making a Paper-mache product, there are two distinct groups of artisans
responsible for the final article. Namely, Sakhtasaz, who makes the object with paper pulp; the
second being Naqqash, one who creates the ornamentation of the surface with colors.
Sakhtsazi (making the object)
The Sakhta-saz who is involved with this process prepares a paper pulp by manually pounding a
mixture of discarded paper, cloth, the straw of rice plant, copper sulfate, which are mixed and
made into a pulp. This paper pulp mixture is combined with a locally prepared rice-based glue
called; Atij’ it is applied onto the molds made of wood, brass or Plaster of Paris and is left to dry
in the sun. The artwork is then carefully detached from the mold using a saw and then rejoined
using dense glue. The sealed joint is then smoothened by rubbing it slowly with a file made of
wood known locally as ‘kathwa’.The object so formed is known as 'kalib'. The prepared ‘Kalibs’
are now handled by the women folk who process it further. Pishlawun is the application of a light
coat of Saresh (lacquer) on the object. It is followed by a second coat consisting of Saresh mixed
with chalk powder and water. The Kalib is then left to dry. The smoothening process is then
followed by rubbing the object with “Kirkut” which is either a small piece of over burnt brick or
pumice stone (Sangh-i-paaya). The kirkut is gently rubbed along the surface of the object. The
fourth coat consists of rubbing the object with bare hands.
SAKHTSAZI

15. 13
Naqashi (painting the surface)
The object is covered with thin strips of butter paper, it forms a layer between the paint and the
plaster covering the artwork so that the surface remains free of cracks. This layer is covered with
a coat of base paint. The Naqashi now begins to transform the blank molds into beautiful
artwork.
Usually the motifs painted are red and green apples, pomegranate, peaches, cherries, apricots or
green almonds or walnuts, lotus and lotus pods, things of beauty, fish, birds, creepers, roses,
Islamic patterns, deers, rabbits and the rest of the life forms, human figures remain an uncommon
choice.
NAQASHI
END PRODUCTS
A great variety of richly painted products like flower vases, wall plaques, bowls, trays, boxes of
various shapes and sizes, bangles, mirror holders and frames, caskets, lamp vases, screens and
items of furniture are made for their functional appeal and decorative charm. There is much more
scope for pleasing functional items, such as bedstead legs, candle stands, trinket boxes, and fine
packaging for expensive items. In Ladakh, masks are made out of paper pulp (mixed with clay,
cotton, flour and glue) and painted in bright colours.
Handicraft workers make statues also for the monasteries in this technique. The style of Papier
Mache painting has also been applied on cookie boxes, steel trays and glasses and similar items
of daily use.

16. 14
Variety of utility items are transformed into art pieces of rare beauty. These artifacts are
tastefully decorated and are surprisingly light weight and durable. Some examples are bangles,
tables, coaster sets, Christmas balls and boxes of every permissible size and shape.
Papier Mache on Steel Glasses Papier Mache Wall Clocks
SAMAVAR COASTER SET
FAMOUS ARTISANS
 Nazir Ahmad Mir
 Fayaz Ahmad Jaan
 Niyaz Ahmad Bhat
 Syed Ajaz Shah
 Syed Maqbool Hussain Rizvi

17. 15
CHALLENGES FACED BY ARTISANS
There was a time when Kashmir was known for its craft and one such craft was Papier-mache.
Papier-mache in olden days was considered as one of the respectable works but the present day
condition has made it a miserable work for the craftsmen. The craft in ancient days was also a
good source of income for artisans who hardly eke out living at current prices.*
“Because of the political situation in Kashmir, the workshop has been broken. The craftsmen used
to work together, now they’re working out of their individual homes which has led to unnecessary
competition. The market has crushed the maker, instead of supporting them. So, things are not
updated and they have the same prices for the products that they had 20 years ago. On the other
side, if you look at the economy, the inflation rates are so high, things have become more
expensive. That has been a big cause towards its decline. And because they were separated, they
were exploited and couldn’t take benefits that they could have as a strong organisation. They
would have been able to approach a lot more people and do some marketing to help themselves.
You haven’t seen that happening in Kashmiri crafts”, explained Burhan ud Din Khateeb, who is a
product designer graduated from NID . **
Local artisan is still earning the same as he used to earn before 20 years. There has been no
increase in the prices of these items compared to increase in prices of the raw material. Lack of
marketing has resulted in its poor demand and they are forced to sell a product at cheaper prices.*
“Government Arts Emporium doesn't provide us direct marketing. They take bribes from the
exporters and we are left with no choice but to sell our products to the dealer at lesser prices”, said
Nazir Ahmad, an artisan.
He said lack of marketing support from government has affected the craft.*
(The above information has been taken from an article in
21,2020 by Sahana Iyer and an article published in
19,2016.)
Outlook traveller published on February
the RISING KASHMIR on February
*http://risingkashmir.in/news/papiermache-losses-sheen-to-corruption-lack-of-marketing
**https://www.outlookindia.com/outlooktraveller/explore/story/70256/sakhtasazi-
workshop-why-is-this-kashmiri-paper-mache-craft-at-risk
MARKET SEGMENT
The raw material needed for the craft such as newspapers, naqashi colors, adhesive, clay and
brushes are procured locally.
The Kashmiri artisans produce the paper mache articles in their home environment. Basically, it is
a cottage industry in which all the family members are involved in the production activity.
In Kashmiri paper mache products, the attention to detail and craftsmanship is so sophisticated that
their demand is very high not only in India but abroad as well. Kashmiri paper mache is an
international name.
Kashmiri paper mache products are quiet popular in European countries, South Asian
countries, Saudia Arabia and USA.

18. 16
FOR THE YEARS 2013-2016
Total Value of export county wise Total Quantity of export country wise
The above graphs have been taken from https://www.zauba.com/export-KASHMIR+PAPIER+MACHE/hs-
code-48237030-hs-code.html
After the recession of 2007 the export of Kashmiri paper mache articles gradually declined from
a peak of 3 billion rupees before recession to 500 to 600 million rupees after recession in 2009.
The above data has been taken from https://www.oneindia.com/2009/10/17/papiermache-exports-
in-kashmir-on-decline.html

19. 17
REFERENCES
1. https://www.blog.theindiacrafthouse.com/2012/01/19/papier-mache-art-born-in-land-
of-persia/ (Accessed on 18/04/2020)
2. https://www.hamiast.com/Paper-Mache-An-Exquisite-Kashmiri-Handicraft (Accessed on
17/04/2020)
3. https://www.sahapedia.org/kashmirs-papier-mache-craft-archive-its-people-and-their-history
(Accessed on 17/04/2020)
4. https://en.wikipedia.org/wiki/Kashmir_papier-mâché (Accessed on 18/04/2020)
5. https://www.hamiast.com/JK-Handicrafts-Problems-and-Hope (Accessed on 19/04/2020)
6. https://artsandculture.google.com/exhibit/products-made-of-papier-m%C3%A2ch%C3%A9%C2%A0-
dastkari-haat-samiti/RAIi5fYPSqE_Kw?hl=en (Accessed on 29/06/2020)
7. https://www.youtube.com/watch?v=RluLlF6ytQI (Paper Mache Art; A Short Documentary
on Kashmiri Paper Mache)
8. https://www.youtube.com/watch?v=-8jzZUqcsQE (Making of Paper Mache Crafts (step by
step) Qasim Bazaz)
9. https://www.youtube.com/watch?v=Q8zNpNZNPH0 (Finances forcing Kashmir papier
mâché to lose lustre)
10. https://www.youtube.com/watch?v=E5P9TKRbJDE (A beautiful visual journey in the
making of Kashmir Paper Mache, a beautiful handicraft of Kashmir)
11. https://www.youtube.com/watch?v=UD4Dq_hO8Io (Papier Mache Art and Craft)
12. https://www.youtube.com/watch?v=pLlsedrcM2E (KAGHZAT : Kashmiri Papier-mache
Craft documentation by National Institute of Fashion Technology, Srinagar)

20. 18
CONCLUSION
Paper mache is a beautiful craft from Kashmir. However, its demand and sale have seen a
decline in the recent years. We take a lot of pride in our centuries old traditions and art forms
but we often fail to sustain the artisans who toil hard to keep these traditions alive.
The paper mache handicraft isn’t just a source of livelihood for thousands of Kashmiri artisans
but also an integral part of India’s cultural lineage. We hope that this beautiful art form
continues to grace the rich culture of Kashmir.
Traditional arts and crafts often lose their charm because people overlook the hard work
behind the process.
The plights of an artisan
Syed Ajaz Shah receiving his National
Award from the then president of India,
Pratibha Patil on December 15, 2008.
Ajaz waits for a passenger opposite a
handicrafts outlet in Srinagar.
https://thewire.in/the-arts/for-this-national-award-winning-artist-auto-driving-
was-more-feasible-than-his-craft
Waking up to the decline of Kashmiri paper mache, the state government has decided to
introduce this art as a subject at elementary level in schools.

21. May this vibrant and beautiful craft become the cynosure
of every conscience.