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The Art Of Papier Machie In Kashmir
By Musavirr Wani
Art of papier machie in Kashmir has great significance and history
attached to it. Known by its Iranian title "Kari Qalamdane", this art
form has acquired wide acclaims both for its impressive quality and
unique character.
Tracing down its history, CRAFT (a magazine published by the
Directorate of Handicrafts) laid down that the art of papier machie
was invented in China in about A.D 105 and the word papier machie has
been derived from the French word that means the "moulded pulp". In
Kashmir, however, it was known by its Iranian title "Kari Qalamdane".
Initially this art was restricted to the preparation of pen cases
only. The craftsmanship, workmanship and the decorative motifs of
these Qalamdans reveal that their preparation must have been
commissioned by the nobles, diwans and kings. Later on this craft was
given the title of Kari-Munaqqash that is nearer to the meaning of
Kari-Qalamdane, the magazine added.
Preparations of moulds, application of colours and designing are the
important processes in the art of Papier mache. To produce its effect
on the products and to gain foreign market, the Kashmiri craftsmen
preferred and used the mineral colours. They generally avoided use of
chemical pigments as they believed that the natural (mineral) colours
would not loose their fastness even after a long time. This, according
to them, would mean that these colours would at least remain fresh for
a period of more than fifty years.
The colours would not loose intensity or strength even if the objects
were kept in direct sunlight or in water for days together. The
process of preparation of mineral colours was labourious. Firstly, the
minerals were tied in a sack/bag of cloth and moistened with water and
then were roughly beaten. This broken wet material used to be ground
into paste on a fislab and the paste was dried into fine powder.
Finally, this powder was mixed with glue and water was added to it
slowly. This material was then rigorously stirred till a fine colour
in the shape of mixture was obtained.
Generally, the colours were and are, applied to protect the article
from any kind of damage and to decorate the same in order to grab the
attention of the customers. The colours used to be obtained from
natural sources (minerals) and most of these used to be imported from
Iran and China. Blue, green and white used to be imported in original
form whereas black, red and others used to be extracted from minerals.
The pots used for these colours are purely handmade clay pots with
glazed inner side. Before use, these pots were thoroughly dipped into
water so that they absorb no more liquid.
Different types of brushes, as reported by CRAFT, are used for
different works in this form of art work. The bristle of the hair of
goat, cat and ass are set in handles of feather (quills) by means of
silken threads, inferior bristles are cut and trimmed up. Special
brushes are prepared for use in varnishing and they are not supposed
to be used in water colour or dipped into water. Brushes used for this
art form are different from those used by painters and artists.
Floral motifs, natural objects, darbar (court) scenes, battle scenes,
hunting scenes and mythological stories form the essential elements in
designing various Papier mache objects. The art of painting was not
restricted to papier mache objects only but was also applied to wood
carvings, window panels, wall panels and even to ceilings as is
evident from the ceilings of Madin Sahib mosque of 1444 AD, the
ceiling of Shah Hamdan's mosque at Srinagar and the baradari of
Shalimar garden of Mughal period. During the Mughal rule, most of the
luxury items such as Qalamdan, make up kit and scent cases used by the
courtiers were made by the Kashmiri artists.
During the early stages the method adopted for the manufacture of
papier mache was very complicated. Small pieces of paper were pasted
with glue on a prepared mould. After drying of the first layer, a
second layer was pasted and accordingly several layers would be pasted
one over the other till the required thickness was achieved. Then the
pieces of muslin used to be wrapped over it which was followed by a
wash of "Gutch" (white wash) and was left to dry.
Mostly the Papier mache objects are made in three dimensions for which
different types of moulds are used. In early times these moulds were
prepared from clay by the artisans themselves. To dry them the moulds
were kept in shade and those were not exposed to direct sunrays or
heat so as to avoid any kind of damages like cracks. After the
commercialization of papier mache products, wooden and metallic moulds
were introduced.
Substances like old rag, fishnets and waste were used to make the
paper for the purpose of documentation or preserving some essential
records. Samarqand was suitable place for this art because it had
sufficient raw material and adequate water supply. In this background
the art of paper making flourished in central Asia in 7th century A.D.
From there it crossed over to Iran and then entered Kashmir during the
reign of Sultan-Zain-ul-Abidin (AD 1323 to AD 1374) but there are
still some traces such as a paper manuscript in Kashmir which dates to
8th century AD. This indicates that paper might have been introduced
in Kashmir before Zain-ul-Abidin's period which is also evident from
the tomb of Zain-ul-Abidin's mother at Zainakadal Srinagar, where
paper treated with glue has been used for fixing the tiles on the
outer walls of the tomb. Researchers have brought to light the
evidence that the art of papier machie originated in Iran and was
introduced among many other arts into Kashmir by king Zain-ul-Abidin.
The firm, "Suffering Moses" founded by Aziz Mughal, the great grand
father of Safder Mughal still exists in Srinagar.
--
Ramratan Chatterjee
Social Activist
New Delhi
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