Valley's valuables

The craft of papier mache — moulding items with a dough of soaked paper — is done in many parts of the country. Kashmir, though, has become synonymous with it. 

Papier mache here means delicately hand-painted items that attract the eyeballs wherever they lie. Besides the artwork being vivid and intricate, the dexterity of Valley craftspersons is also reflected in the light weight artefacts they produce.

The creation of a papier-mache product is the outcome of two sets of artisans proficient in different skills: one builds an item while the other embellishes it.

Together they create poetry. Not just that, it’s a fine example of recycling, for waste is turned into a thing of irresistible beauty.

The mould maker is called the sakhtsaz and his work begins with soaking paper for a few weeks and then hand-pounding it along with rice husk, fenugreek seeds, multani mitti (fuller’s earth), shreds of waste cloth and these days, some resin too.

Time as an essential

This is a laborious process and the pounding is done till the mixture attains a pulp form that can be kneaded into a rough yet soft dough. The next step requires swift action. The dough is covered with a wet cloth so that it stays moist, while a team of men quickly get to work, applying a few layers to each desired mould of bowls, boxes, plates, Christmas-tree-decoration-like balls and stars etc, till the required thickness is achieved. These are left to dry for a few days.

Once firm, the paper product is smoothened and removed from the mould after which it is gently filed. At this stage, the artisan may use the help of other family members too, and often women can be seen contributing equally. The prepared item is coated with a paste of glue and chalk powder. Hereafter, strips of paper are pasted to strengthen the item and prevent it from cracking. It’s finally filed once again to make it as smooth as silk, after which a base colour is applied.

The raw papier-mache product is now ready to be handed over to the naqash, the artist, who will use a palette of colours to beautify it.

The chief naqash presents the quintessential picture of a Kashmiri artisan. Amidst colour containers and brushes lying scattered on the ground, and a kangri (wicker-covered clay pot carrying burning charcoal, used for warmth) beside him, sits the pheran-clad artisan, holding a small box in his hand and deftly applying stroke upon stroke and bringing alive a floral pattern.

Sometimes, he uses the colours of the rainbow to paint his ware, and at times it could be just a black-and-gold combination. He does it all freehand, dipping into years of experience of being a naqash.

Most patterns fall in the Mughal art category, while some typical Indian motifs like elephant and peacock also appear on papier-mache artefacts.

The style of painting and the technique is said to have been brought here from Central Asia and Persia.

In centuries past, papier mache was used to adorn ceilings, and furniture too was moulded out of it. With the Mughals being great patrons of the arts, how could they not be attracted to it?

Decorated pavilions

The pavilions at Shalimar Gardens in Srinagar, planned by Emperor Jahangir, is where you can see papier mache in all its glory. These had weathered with time, but have now been beautifully restored. Each naqash usually has a band of boys who look up to the ustad and can be seen keenly following his advice, looking ahead to times when they can carry forward his legacy. But for how long will this tradition carry on?

Artisans in the strife-torn Valley moan of dwindling profits and lack of interest in the youth to spend hours doing painstaking work. The monotony of design is also one of the reasons why buyers do not go beyond typical souvenirs. According to critics, the way out of this lies in adding new-age products made with papier mache. Work has begun in that direction and next time you visit the Valley, amidst the boxes and samovars, you might find a Bluetooth speaker or a floor lamp.