12/03/2018 Kari Kalamdani~ Papier-mâché painting, Srinagar | Gaatha .

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Posted on: August 17, 2016 By: Sandeep Sangaru & Shivani Dhar With: 0 Comments
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Along the Dab sitting across on a warm and comforting silk carpet, an old man
and his wife gaze into the twilight overlooking the street… savoring a smoke from
a hookah… pipe in one hand, the other resting on the lap. Through the wide-open
windows, their silhouettes look identical, both enveloped within their beige-grey
Fehrans, with a highlight of white overturned sleeves. The golden icker held
gently on the wick of the oil lamps lights up the evening. They are absorbed in
their own little world, enjoying the cold breeze caressing their red cheeks…

Old

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April 2017 (3)
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September 2014 (1)
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November 2013 (1)
October 2013 (8)
There is, however, a clear di erence in the assortment of things besides them. September 2013 (2)
July 2013 (1)
The man with a white turban on his head has a wooden study desk next to him…
June 2013 (4)
with a stack of paper, inkpot and pen readily waiting for him to snap out of his May 2013 (15)
April 2013 (1)
thoughts to pen something down. And he does… looking at the colorful birds
January 2013 (1)
painted on the pen case, while he lifts the pen up. He writes… December 2012 (1)
November 2012 (1)
September 2012 (1)
“We have only learnt to make boxes around everything we were given… literally
August 2012 (1)
and guratively, in 2D and in 3D… some go ahead and make those boxes look so July 2012 (2)
June 2012 (1)
beautifully essential that we can’t help but incorporate them in our lives, while
February 2012 (2)
there are always a few forced ones around only waiting to be replaced. The January 2012 (3)
beautiful ones however, like this Kalamdani are a delight to have. It holds in it a December 2011 (1)
October 2011 (1)
powerful weapon of the worlds of imagination that are waiting to be unboxed. September 2011 (1)
This Kalam, however, needs to be held in the right hands to be able to say of August 2011 (2)
July 2011 (4)
those worlds honestly. Like the story of this kalamdani, that goes back to the June 2011 (1)
times when Kashmir became the rst and the only paper-producing region in this May 2011 (3)
April 2011 (4)
subcontinent.
March 2011 (3)
February 2011 (4)
January 2011 (3)
December 2010 (4)
November 2010 (5)
October 2010 (3)
September 2010 (3)
August 2010 (4)
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November 2009 (2)

The rst paper industry developed in Kashmir was established by Sultan Zain-
ul-Abedin in 1417-67 AD after he returned from detention in Samarkand. He
brought along artisans of various skills to develop crafts and introduce new trades
in India. And soon, because of its quality, the Kashmiri paper or Khosur kagaz
was much in demand in the world and the rest of the country for writing
manuscripts. This brings to the mystery of why the art of painted papier-mâché
in Kashmir was originally con ned to making Kalamdan or the pen-case only and
got to be known as Kari-Kalamdani. Due to the rapid growth of paper industry
during this time, the demand for pens along with bookbinding and craft of making
decorative
S HAR ES book jackets in papier-mâché also ourished.

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12/03/2018 Kari Kalamdani~ Papier-mâché painting, Srinagar | Gaatha . गाथा ~ handicrafts

Calligraphy from Persia too took o as an artistic expression. Many calligraphers

migrated from Persia and Central Asia to Kashmir during Zain-il-Abedin’s rule.
The most renowned among them was Mohammad Husyn. When Mughal
Emperor Akbar occupied Kashmir, Huysn received the title of Zarrin Qalam (the
golden pen) from him. Later, the French used the word Papier-mâché painting
work to refer to the boxes specially made to present Pashmina shawls that
were imported from Kashmir; and these boxes were most sought after and
were also sold separately at a premium in France. Hence, the craft of Kari-
kalamdani was popularly known as papier-mâché painting in Europe.

Like a Cornucopia, Kashmir witnessed many diverse expressions of craft from

poetry to music to space, to architecture, to weaving, to embroidery, to papier-
mâché… These connections are evident in the motifs, colors and elements of its
spaces and forms across crafts. Naqsh or Naqqashi is the foundation of any
craft. It is the basic element, which adorns itself in various forms and mediums.
Kari-kalamdani tradition had its individual masters or Naqqahgar, who sometimes
signed their artworks.

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12/03/2018 Kari Kalamdani~ Papier-mâché painting, Srinagar | Gaatha . गाथा ~ handicrafts
During Mughal times, paper was used widely both for manuscripts and as a basis
for tempera painting. The Mughals commissioned a large number of works made
in Kari-kalamdani technique to make gifting products. The painting style was
used on palanquins, howdahs and also to decorate the walls and ceilings of
rooms. A smooth surface was created on the wooden base of the ceilings or walls
with paper pulp and layered with polished Koshur kagaz to create a ne surface
for the painting. This form of naqqashi was also known as kari-munaqqash
(Munaqqash: decorated or picturesque). In the process of making a papier-mâché
product, there are two distinct groups of artisans involved to produce the nal
article. The rst is Sakhtasaz, who makes the object with paper pulp; the second is
Naqqash, who does the ornamentation of the surface with colors.

The Sakhta-saz prepares the paper pulp pounding waste paper, cloth and other
ingredients. The pulp is then shaped or given the form of the article with the help
of Moulds. Traditionally clay moulds where used. Today the use of POP, wooden
or metal moulds is prevalent. After the pulp has dried, it is removed from the
mould. Depending on the complexity of the form of mould the dried pulp form is
cut with a ne saw and glued back together and nished before the painting.

From here onwards the process is taken over by the Naqqahgar or Naqqashi and
the ornamentation begins with the application of white solution consisting of
gypsum and glue. After drying, the surface is polished with a wet stone until
perfectly smooth. The subjects that get painted are Red and green apples,
pomegranate, peaches, cherries, apricots or green almonds or walnuts, lotus
and lotus pods, things of beauty, sh, birds, creepers, roses, Mughal
patterns, deers, rabbits and the rest of the life forms, no human gures
though.
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12/03/2018 Kari Kalamdani~ Papier-mâché painting, Srinagar | Gaatha . गाथा ~ handicrafts

Traditionally the color for the painting was made from natural pigments and
minerals and it was a strenuous process to prepare them. The ground or zameen
(the base coat) was commonly metallic, of gold, silver or of tin. Fine particles of
ground tin, silver or gold were mixed with glue and applied on the surface and
allowed to dry and then burnished with an agate. A light rub of amber varnish
followed this and whilst wet, ne verdigris powder was spread to get a greenish-
blue tone. Tin or gold foil imparted a subtle luster. For a red e ect on luster a
preparation of lac was used.

Color pigments were also imported from various places but Kashmir itself yielded
black- from the walnut, as well as some other common colors and essentials-such
as linseed oil, which mixed with gum resin formed the varnish. White lead came
from Russia and verdigris was obtained from Surat or Britain. Lapis Lazuli for
ultra-marine was bought from Yarkand. The painting on the pattern was done
with a brush made from the hair of a Pashmina goat and pencils from those of cat
fur (as described by Willam Moorcraft in his travelogues circa 1800 AD).

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12/03/2018 Kari Kalamdani~ Papier-mâché painting, Srinagar | Gaatha . गाथा ~ handicrafts

The practice of using natural pigments has languished over a period of time due
to rampant commercialization of Papier-mâché products. A widespread use of
synthetic colors and varnish is prevalent now.
The designs used in papier-mâché Naqqashi are very ne and need a great deal of
skill and accuracy to achieve. The paintings are of two kinds, raised and at.
The raised type comes close to relief work. Birds and butter ies are sometimes
represented in relief manner amongst owers and foliage on a at surface. The
patterns are drawn free hand by the master Naqqashi and assistants do the job at
various stages of lling color. And nally the master Naqqashi draws the outline
to complete the painting, which is then coated with varnish.

The technique of painting on papier-mâché was also applied on woodcarving,

especially windows, Khatambandh ceilings and furniture. Specimens of objects
made of Papier-mâché of a date earlier than that of nineteenth century are very
rare; mostly due to their fragile or perishable nature. But the fact that there was
continuity in tradition from the fteenth century onwards is clearly indicated by
literary sources documented by William Moorcroft and a French traveler;
Bernier’s travelogues from 1665. Some rare and ne specimens of these articles
are preserved at the Victoria & Albert museum in London.”

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12/03/2018 Kari Kalamdani~ Papier-mâché painting, Srinagar | Gaatha . गाथा ~ handicrafts

As he was writing on his Koshur kagaz, he realized that it too was made from the
same pulp as the kalamdani. Each sheet polished with a smooth shell or stone
for a crisp glossy nish… his eyes started gleaming with blue light.
The woman, from the other side, also with a white cap on her head… ne mulmul
drape covering her back from underneath it, responded with a similar shine and
warmth in her eyes. The room was resonating with their love. Not so fond of
boxes, she had many loosely tied Potlis behind her… the kids of the household
often ocking around would run into her lap and she would carry them in her
warm embrace, put her hand in one of the sacks and take out goodies. What all
was inside them was a surprise to everyone… but no one ever left without a smile.
Among her cherished o erings of love were fruits- a big red apple, pomegranate,
peaches, cherries, a hand full of dried fruits like apricots from Ladakh or green
almonds or walnuts, sundried tomatoes, baked grams, seeds of lotus pods… The
apparently small sacks were also seen to give out things once in a while… things
of beauty… like she once took out a copper Surmadani shaped like a sh for a girl
she thought had sh shaped eyes, walnut wood and Kari-kalamdani cases,
beautiful brass hand mirrors with roses etched on the glass, wicker and woolen
toys, fresh pink roses… no one knew where they came from. The only time she
would be out of the Dab was early in the morning, around 3 or 4 am and everyone
knew she was going for her daily prayers and would be back in a few hours.
Everyone loved to ock around them… rounds of storytelling and singing together
over piping Kahwa and crumpling Bhakarkhanis would play day and night…..

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Bernier’s travelogues culture srinagar handcrafted products kashmir

handmade products india history and process paper mache srinagar

Kari-Kalamdani kashmir traditional houses Kashmiri paper

Khatambandh ceilings Khosur Kagaz Koshur kagaz Lapis Lazuli

Lapis Lazuli painting Mohammad Husyn Naqqashi srinagar Naqsh or Naqqashi

painted papier-mâché painting art india kashmir Paper mache crafts kashmir

traditional crafts kashmir William Moorcroft Zain-il-Abedin’s rule

Sandeep Sangaru & Shivani Dhar

S HAR ES
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