<p>The natural beauty of Kashmir finds itself elegantly expressed in the handicraft of the state. Whatever be the medium, the Valley’s floral profusion and paradisiacal elements get beautifully composed in the vocabulary of art. <br /><br /></p>.<p>The craft of Kashmir is in a league of its own. Extremely intricate and in soft tones, it feels delicate and looks tasteful. Its motifs, inspired from nature, are lyrical too. The lovely chinar leaf, the dainty paisley or the beautiful blossoms don’t compete for attention but shyly peek. This is in absolute contrast to bold colours and patterns found in handicraft originating in other parts of India. There is a reason why Kashmir stands apart. <br /><br />Persian palette <br />Unlike the rest of the country, craft in Kashmir has its roots in Persia or the present day Iran. According to some historical facts, Persian preacher Shah-e-Hamadan arrived in Kashmir around the 13th century with an aim of spreading Islam. He came with a huge set of followers among whom were artists and craftspersons who excelled in papier-mache, coppersmithing, wood carving, embroidery, carpet-weaving, calligraphy and more. They soon got down to work in the Valley, apart from training the locals in skills they knew. <br /><br />It’s said Shah-e-Hamadan encouraged the spread of craft so that the locals could keep themselves busy during the harsh winter months when there was little else to do than be huddled indoors. This would also lead to a boost in the economy of the region. The preacher’s prediction proved correct and over time the Valley became a flourishing hub of quality handicraft, along the way developing a unique style that was a blend of local and Persian elements. As a dedication to the saint, the Khanqah-e-Moula was built by the banks of the Jhelum in Srinagar. It remains one of the most striking structures in the Valley, and is an outstanding example of Kashmiri-Central Asian architecture. <br /> <br />Mughal vocabulary <br />Kashmir’s craft drew appreciation and was always in demand, attracting its share of global buyers too. Political unrest in the Valley, however, saw a steady decline in the crafts and it was only when the art-loving Mughals took over Kashmir in the 16th century that a revival was witnessed. As craftspersons began receiving royal patronage, the cottage industry received the much-needed fillip. <br /><br />The Mughals were proud of their roots and always kept alive the connection with the ancestral land by promoting their excellent arts. Indeed, Hindustan was enriched by their aesthetics. Kashmiri craftspersons too gained from Mughal inputs and happily included Central Asian expression in their art. <br /><br />European tones <br />When the British arrived in India, Kashmir became their favourite summer retreat. They too were charmed by the wizardry of the artisans; not only did they become one of the biggest patrons of the arts, but also lent their views and refined the products further. It was now that crafts got a slight European twist in colour tones and patterns. <br /><br />As the British could not buy land in the Valley, they set up houseboats, which became their seasonal abode. They tapped into local skills to dress these residences, giving artists a unique canvas to show their creativity. The houseboats were the beginning of yet another industry in Kashmir, one that remains a major source of tourism revenue. <br /><br />A thing of beauty<br />Handicraft fairs have ensured that the Kashmir craft has travelled to all parts of the country. Usually, what a visitor sees is stalls selling embroidered fabric, shawls or papier mache; much of which, disappointingly, is not genuine.<br /> <br />To see the real wealth of the state, one must travel to the Valley and visit by-lanes in the old city of Srinagar to take a look at coppersmiths crafting sheets of copper into tableware, stitch-artists embroidering tilla (silver wires) on to pherans and naqash (craftsmen) carving walnut wood into pieces to exclaim about. Take a trip to Anantnag to be fascinated by locals turning sheep-wool into namdas or rugs and old blankets being converted into gabbas or embroidered durries. Head to Kani-hama on Gulmarg Road to view the art of weaving kani jamawar shawls. These are some craft hubs.. However, most villages will joyfully present an artist of repute and also take pride in telling you that almost all community members are adept in skills like basketry or embroidery. <br /><br />Back in the city, one look around the craft shops and you’ll realise every item on the shelf is not just a piece of decoration, but something you can affectionately use. It’s said that the British were the ones who taught craftspersons to make their craft utilitarian. This shift was received well, and ever since there has been no looking back for craft stemming from the Valley. <br /><br />After your eyes have feasted on the craft, take a bite of the delectable cuisine of the Valley. There’s much more to that too, beyond the gushtaba and aloo dum!</p>
<p>The natural beauty of Kashmir finds itself elegantly expressed in the handicraft of the state. Whatever be the medium, the Valley’s floral profusion and paradisiacal elements get beautifully composed in the vocabulary of art. <br /><br /></p>.<p>The craft of Kashmir is in a league of its own. Extremely intricate and in soft tones, it feels delicate and looks tasteful. Its motifs, inspired from nature, are lyrical too. The lovely chinar leaf, the dainty paisley or the beautiful blossoms don’t compete for attention but shyly peek. This is in absolute contrast to bold colours and patterns found in handicraft originating in other parts of India. There is a reason why Kashmir stands apart. <br /><br />Persian palette <br />Unlike the rest of the country, craft in Kashmir has its roots in Persia or the present day Iran. According to some historical facts, Persian preacher Shah-e-Hamadan arrived in Kashmir around the 13th century with an aim of spreading Islam. He came with a huge set of followers among whom were artists and craftspersons who excelled in papier-mache, coppersmithing, wood carving, embroidery, carpet-weaving, calligraphy and more. They soon got down to work in the Valley, apart from training the locals in skills they knew. <br /><br />It’s said Shah-e-Hamadan encouraged the spread of craft so that the locals could keep themselves busy during the harsh winter months when there was little else to do than be huddled indoors. This would also lead to a boost in the economy of the region. The preacher’s prediction proved correct and over time the Valley became a flourishing hub of quality handicraft, along the way developing a unique style that was a blend of local and Persian elements. As a dedication to the saint, the Khanqah-e-Moula was built by the banks of the Jhelum in Srinagar. It remains one of the most striking structures in the Valley, and is an outstanding example of Kashmiri-Central Asian architecture. <br /> <br />Mughal vocabulary <br />Kashmir’s craft drew appreciation and was always in demand, attracting its share of global buyers too. Political unrest in the Valley, however, saw a steady decline in the crafts and it was only when the art-loving Mughals took over Kashmir in the 16th century that a revival was witnessed. As craftspersons began receiving royal patronage, the cottage industry received the much-needed fillip. <br /><br />The Mughals were proud of their roots and always kept alive the connection with the ancestral land by promoting their excellent arts. Indeed, Hindustan was enriched by their aesthetics. Kashmiri craftspersons too gained from Mughal inputs and happily included Central Asian expression in their art. <br /><br />European tones <br />When the British arrived in India, Kashmir became their favourite summer retreat. They too were charmed by the wizardry of the artisans; not only did they become one of the biggest patrons of the arts, but also lent their views and refined the products further. It was now that crafts got a slight European twist in colour tones and patterns. <br /><br />As the British could not buy land in the Valley, they set up houseboats, which became their seasonal abode. They tapped into local skills to dress these residences, giving artists a unique canvas to show their creativity. The houseboats were the beginning of yet another industry in Kashmir, one that remains a major source of tourism revenue. <br /><br />A thing of beauty<br />Handicraft fairs have ensured that the Kashmir craft has travelled to all parts of the country. Usually, what a visitor sees is stalls selling embroidered fabric, shawls or papier mache; much of which, disappointingly, is not genuine.<br /> <br />To see the real wealth of the state, one must travel to the Valley and visit by-lanes in the old city of Srinagar to take a look at coppersmiths crafting sheets of copper into tableware, stitch-artists embroidering tilla (silver wires) on to pherans and naqash (craftsmen) carving walnut wood into pieces to exclaim about. Take a trip to Anantnag to be fascinated by locals turning sheep-wool into namdas or rugs and old blankets being converted into gabbas or embroidered durries. Head to Kani-hama on Gulmarg Road to view the art of weaving kani jamawar shawls. These are some craft hubs.. However, most villages will joyfully present an artist of repute and also take pride in telling you that almost all community members are adept in skills like basketry or embroidery. <br /><br />Back in the city, one look around the craft shops and you’ll realise every item on the shelf is not just a piece of decoration, but something you can affectionately use. It’s said that the British were the ones who taught craftspersons to make their craft utilitarian. This shift was received well, and ever since there has been no looking back for craft stemming from the Valley. <br /><br />After your eyes have feasted on the craft, take a bite of the delectable cuisine of the Valley. There’s much more to that too, beyond the gushtaba and aloo dum!</p>
