WALNUT WOOD CARVING - Chitrak Srivastava
Contents Acknowledgment
1
Our Experiences
3
The Valley Of Kashmir
4
Walnut Wood Carving - An Introduction
11
Types Of Walnut Wood Carving
12
Origin
15
About The Craftsmen
18
Raw Material
25
Tools Of The Trade
29
Motifs
36
The Process Of Wood Carving
45
Product Range
55
Market
63
Existing Scenarios
64
Bibliography
65
Acknowledgment I take the opportunity to sincerely thank, for providing valuable information related to Walnut wood carving and being supportive and encouraging throughout the craft documentation. Sincere thanks to Khalil Mohd. Kalwal, the master master artisan and his sons, Fayaz and Zahoor for their valuable knowledge and time. All other craftsperson for co-operating throughout the task. To the CDI for providing infrastructure, resources and support. To Mr. Sajid Nazir, Faculty, CDI for their support and guidance. To Mudasir for guiding us through the city. To Ms. Puja Anand for conducting the project and for her moral support To Mr. A.Bala Subramaniam, for suggesting us to work with CDI To Mrs. Warikoo, for giving us the opportunity to work with CDI
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A view of the mountians through a window in Gulmarg
Our Experiences
C
oming from a city where doors are sealed for strangers. To a city where, when it came to imparting knowledge upon others, doors were wide opened. Where you are then kindly hospitably seated in their houses or work areas with one cup of kahwa1 and some delicious cookies from the bakery. Delight in acknowledging and teaching the curious for absolutely nothing at all. Not very often have we met people like that and were very obliged. At the workshop where our master artisan, carpenter and the polisher created wonders we sat watched asked questions and had good laughs and stories exchanged. Our master artisans son Fayaz once took us to see the preperation of their traditional feast known as vazvaan at his friends 2 sisters mehndi night . Where not only did we learn how the vazvaan was 3 prepared but also how instead of stoves the dun kul branches are used. Fiyaz had also taken us for a little field trip to the mill wherehumangus logs were being ut and while the rest of the logs were stacked away, under which played a blue eyed pup. We learnt and we enjoyed while we learnt with our craftsman Kalwal Sahib, his wife and sons.
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From left: Chitrak , Kalwaal Sahib , Rachita
Three weeks went by and time flew by quick. And at the speed with which we got comfortable In the city we wanted to extend our trip longer. But exchanged numbers and bid farewell and left for home.
a local tea that also has medicinal uses an event before marriage for the ladies
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The Valley Of Kashmir
Scenic view of Srinagar from Pari Mahal, a fort located in the mountains near the city
The Valley Of Kashmir
K
ashmir with a fragrance of its own from the earliest times has attracted travellers. Its beauty has reached the eyes and ears of people throughout the world. The romantic shikaras rides, houseboats on the lakes , purple and blue clouds in the evenings and breath taking sunsets all add up to make Kashmir an exhilarating tourist destination. A visit that would make you ask yourself - why have I never been here before? The valley is a wide explosion of beautiful colors because of the greenery, snow and flowers. It’s a mind refreshing experience and gives one the true feeling of being one with nature. Apart from its scenic view, what makes Kashmir so beautiful is its numerous crafts, cuture, people and its flaura and fauna. A commercial shikara selling eatables at Dal lake
It is infact as what the Great Mughal Emperor Jahangir said when he first visited Kashmir “Agar Firdos ber rui-zamin ast, Hamin asto, hamin asto, hamin ast” (If there is a heaven on earth, it is definitely here, here and only here ) Srinagar is the winter capital of Jammu and Kashmir. An ancient city which was found by Emperor Ashkoa (232 BC- 72 BC). The jhelum flows gently through the center of srinagar, with the 1
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a traditional boat of Srinagar similar to the gondola of Venice
nine bridges linking the two sides. The Dal lake is an enchanting silver-blue sheet of water dotted with brightly colored shikaras1 and elegant houseboats. It is the heart of kashmir which is the main tourist attraction with vendors sitting in shikaras selling with all kinds of products and services. Around it are the colorful terraced Mughal Gardens – Shalimar, Nishat and Chashmeshahi, laid out by the beauty-loving Mughal emperors.
In the interiors of the city thousands of craftsmen work individually or in groups. There are numerous handicrafts shops.The locals have mastered the art of making beautiful handicrafts. Mughals celebrated beauty and left behind a heritage of exquisite artisan ship among the people, making the handicrafts of the land prized gifts the world over. The Government Central Market for handicrafts, the main showroom and some branches of the Kashmir government is also located in Srinagar.
Kashmiri people wearing traditional clothing called phirens
Chinar leaf is symbolical of Kashmir and is a common motif amongst many crafts 1 2
The people of srinagar, despite the current political situation are very hospitable and will welcome you with an everlasting smile on their faces. Their helping nature is kind and alomost unbelievable in a worl like today. Most Kashmiris still live in the traditional way, wearing phirens1 with kangris2 to keep them warm during the cold. The traditional beverage in Kashmir is Kahwa, which is a traditional tea and has medicinal uses and is in fact a delight.
long loose and warm overgarments charcoal burners
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The Valley Of Kashmir Kashmir’s cuisine is famous in almost all of india. It is said that anybody who visited Kashmir without tasting the famous cuisine Wazwan didn’t infact visit Kashmir. The Wazwan is Kashmir's most formal meal. A ritual serving before the guest of all the food there is in the house. This taste of hospitality must in turn be fully appreciated by the guest, for the wazwan is not a simple meal but a ceremony. Hours of cooking and days of planning go into the making and serving of a wazwan. In a way you may say that the Kashmiri Wazwan is a craft in its own way.
Left : ongoing preparations for Wazwan Top: chicken kept on a plate after being cookedzz Right: an elder making paste for various delicacies
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A wood carver in the process of carving a panel
Walnut Wood Carving - An Introduction
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alnut wood carving of Kashmir is a process of hand carving which is done very delicately in numerous styles with tools depicting various forms and motifs that have evolved over a period of centuries. The carving uses motifs that depict the different flora and fauna of the region in a highly stylized manner which also reflects other associated Kashmiri handicrafts. The walnut wooden products are completely carved with hand without the slightest use of machinery. The process represents the local tradition of carving, which evolved from stone and later transferred on to the medium of wood which represents various facets of carving; from flat to deep relief that gives three-dimensional effect. The desired effect is achieved by the wastakar through skilled strokes for chipping, carving and rounding of the surface. The entire process highly represents the art of stone sculpture though on a smaller scale. The Kashimiri walnut wood craftsman enjoys detailed and diverse designs which are based on natural forms. Therefore, elaborate and intricate designs become an essential part of what is known as the Karhmiri Walnut Wood Carving.
Details on a piece of wood carving
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Types Of Walnut Wood Carving
T
here are namely 4 tyoes of wood carving which are practised in Kashmir:
Khokerdar1: This type of carving is highly reflective of traditional stone carving involved in the making of sculptures. This carving usually comprises multi-layers that can exceed upto seven layers. The overall effect tends towards three-dimensional depiction of various motifs. Edges tend to be rounded off. Straight, sharp edges are usually avoided. This type of carving is usually carried out in panels and is a favorite with many established craftsmen (wastas). The scenes mostly depicted are complex arrangements generally associated with jungle scences. This type of carving takes the most time and requires a great deal of skill of the craftsman and therefore is also very expensive.
An undercut Carving depicting a Jungle scenery
Jallidahr, Shabokdhar2: This type of carving is a favorite with artisans working in screens and employs beautiful see through Jalli work. Chinar leave motifs are also employed especially in items of furniture like the back of chair. These works is also known as cut work or see through.
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Undercut Carving Open or lattice work
A door carved with Lattice work in a house boat showing Chinar tree
Vaboraveth1: This work is also known as raised work and the designs mostly employed in this form of carving comprises
A raised carving done on a single piece of wood.
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deep carving
13
Types Of Walnut Wood Carving Sadikaam1: This type of carving is normally employed all over a flat surface.
A common motif in Kashmiri crafts, the chinar is done here in shallow carving
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Shallow or plain carving
Origin
I
n the 14th century , Many saints came to the valley of Kashmir to preach and to propagate Islam, to name a few were: Bulbul Shah, Syed Jalal Uddin Bukhari, Syed Taj Uddin, Syed Hussain Samnani, and Yousuf. But the one who lit the torch of monotheism , in reality was Hazrat Amir-e-Kabir Sahah-e-Hamdan. Seeing the economic conditions of the people in the kingdom, he brought with him a number of crafts from Iran and trained the people of Kashmir in those crafts. Amongst these was the art of stone carving. Soon the craftsmen of stone carving started exploring locally available materials and found walnut wood to be a good alternative to stone because of its appealing dark color and the tight grains which make it easy to carry out intricate carving on it. With popularisation of this new found material, Walnut wood carving became a craft in itself . Bold and simple motifs were distinctive representing the earlier medium of stone. The fascination for detail though seems to have developed in the latter part of the 19th Century under European influences when the bold and effective woodcarving of the past was replaced by a highly intricate process of undercutting. It is one of the crafts in Kashmir in which women are kept away in the entire process of carving.
Walnut wood carving done on the door of Jama Masjid, Srinagar
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About The Craftsmen
Kalwal Sahib’s workshop
About The Craftsmen
Wastakaar - Master Craftsmen
H
aving learnt the art of wood carving by his father Gulam Akbar Kalwal, Khalil Mohammad Kalwal , respectfully known throughout as Kalwaal Sahib, started his journey at the age of 8 years. 3 years after that his father passed away and so he started work with his Chacha1 with a dihaari2 of 4 anna3 per day and with each passing day his wage started to grow. However, In 1973 he left working on wood and worked as a carpet weaver making both silk and woollen carpets. In 1982, he went to Haj4 and when he came back, he decided to leave carpet weaving for he did not want to lie to sell his art and started back with wood carving. In 1999, he received his first award for wood carving. The next year he got permission to exhibit his work in the Surajkund mela and the very same year he was sent to dubai for demonstration and and sale by the government of India. In the year 2005, he received the Shilp Guru Award and in the year that follows, State Of Honour Award by the Governor and the Chief Minister of Kashmir. In total, Kalwal Sahib owns thirteen awards and has been sent to many countries including, U.S , Japan, England, Romania by the government for demonstration and sale purposes. Shilp Guru Award received in 2005
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Father’s younger brother wage 3 4 anna = 25 paisa 4 sacred place for muslims 2
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Kalwal Sahib doing what he enjoys the most
About The Craftsmen
Wastakaar - Master Craftsmen
What makes Kalwal Sahib’s work great is not the skill, but his mind. Of course, his mastery over his tools are excellent and beyond imagination but his mind is like a camera itself and the wood , his film. He never replicates or copies something from a photograph even if someone has given him an order of the sort but instead he will look at it once and will make it in his very own style and that is what makes it a work of art.But his craft is not all that he is respected for. His honesty and humbleness are the very key to his success. Interestingly, he says he is illiterate, however, he has still been able to travel the world and spread his craft throughout. Kalwal Sahib enjoys carving that tells a story . He also enjoys papier mache apart from wood carving.
Kalwal Sahib having Hookah. He says it gives him an open mind to think.
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Kalwal Sahib has a beautiful family of a loving wife, his two sons, two daughters and a grandson. He believes that his craft and his work should not die with him and so he undertakes few apprentices who work under him for years to hone their skills and to become true artisans. During his son’s childhood he gave them an incentive of 4 anna as their pocket money to teach them this craft . Not only that they have become fine artisans but also they are very well educated. His team gives him utmost respect and has been working with him for as long as 12 years. Together with his son he runs his small business in Srinagar which also expands in Delhi.
From left: Zahoor and Fayaz, sons of Kalwal Sahib, Fayaz being the elder of the two.
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About The Craftsmen Nazir Ahmad has been working with Kalwaal Sahib for the past 12 years. He either works at the workshop or at the mill to get the wood from their. He enjoys listening to music or the radio and is a very hard working guy.
Music and work
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Chaan - Carpenter
Roshangarh - Polisher
About The Craftsmen
Meraj Din has been working for the past 4-5 years as a polisher and keeps great respect for Kalwaal Sahib. He is very dedicated to his work He is a proud father of an advocate son.
Riyaz has been workng for the last 6 months as a roshangarh and is a very jolly person. He likes to travel and only recently he was married
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Small leafs growing out of the trunk of Walnut tree
Raw Material
F
or a craftsman, The color, grain and the finish of walnut are unique. Its close and tight grains enables fine and intricate carving with its soft, color gives an interesting visual appeal with just plain surfaces. It is also hard and durable. The walnut wood contains a special kind of oil which allows the artisan to do intricate carving. Its colour ranges from creamy white in the sapwood to a dark chocolate colour in the heartwood 1
The wood is obtained from Dhun Kul which belongs to the small order of trees and shrubs known as Juglandeae. Walnut trees are very large, ranging from 50 to 75 feet in height. In India, Kashmir is the only place where walnut tree is found. Because of deforestation, The number of walnut trees is quite less and therefore the cutting of these trees is restricted but may be cut down by order of the government. The costing of the wood depends on which part the wood is from. The branches of the tree are the cheapest and are almost never used for carving because they are less durable and very prone to insects.Also the grain in the branches is not very pronounced. However they may be used for making items that are very cheap. Normally the branches are usually considered as waste and because of the oil in the wood, they are 1
Dhun Kul or Walnut Tree
Walnut Tree
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Raw Material used in preparingWazwan. The branches cost about Rs 800 cubic feet. The trunk of the tree is comparatively expensive because it is durable, has very pronounced grains and therefore best suited for carving. It costs from rupees 1200 to 3000 per cubic feet. This is the part that is usually used in most products. The roots are the most expensive part of the tree because of its fine grains which are visually very appealing. However, it is hard to carve on. Also because its availability is less, it is chosen as soon as they come to mills. So this part is only used in products which are smaller in size and are expensive . Its cost starts from rupees 2700 per cubic feet
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Walnut wood from the roots of the tree
The defects in the wood caused by ahalu (mistletoe) the insect that feeds on the walnut tree)
Randa and Toor
Tools Of The Trade
T
he entire wood carving process, starting from the carpenter to the polisher, involves a variety of tools used for varied uses. Some are available in the market and some manufactured by the naqash1 himself. The tools of the carpenter are usually available in the market in different sizes and shapes for purposes like cutting, planing, making joineries, etc. Tools of the naqaash lying on the takht
The carving is done by the naqash while squatting along a low height wooden table which is locally known as wan-i-takhta or simply takhta.Each tool of is tools no matter how same they may look has an important role to play. From chiseling chunks of wood to giving intricate textures, he uses his tools to do it all. The Polisher has his own use of his tools. It is his job to give the carving the final finish and for that his tools need to give him flexibility of work for coloring and polishing the plain surfaces as well as the carved ones.
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artisan
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Tools Of The Trade
Chaan - Carpenter
From top: Litri, Aari, Wahangir (used for cutting circles)
From Left: Randa , Ath randa , Gothk randa
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Putaishi
Filers of different sizes and shape
From left : Angle for measuring 90 degree, Chimta, and Toor which is used in place of a hammer
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Tools Of The Trade
Wastakaar - Master Craftsmen
The tools of the wood carver are unique in the sense that they are not industrially made but instead each tool is made by the craftsmen himself according to his needs and use.
Keels used to give details on the carving from left: Sumbur, Phool atavidit, Checknince, Dulomcule, Poshcule, Gol poshcule, Suchcule, Chakricule, Phulcule, Plain adavidit
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From left: Daugun Narivoor (adavidit) , Kaanjiwar Nariwad (adavidit), Saaf Karmukh (mazrat), Neer Karnukh (Beeri - name), Chaurasvool, Nuke, Truibergi, Budh truibergi, Lokut saburgi, Budh saburgi, Imbarzal Nariwool, Vatlavan nariwool. These tools are used for safai (cleaning) in the process of carving
Left : Pothar used to sharpen tools Right: Thaipi for beating tools such as chisels and keel
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Tools Of The Trade
Roshangarh - Polisher
The Zilan is a tool used to plain the surface of the wood which does not have carving. It is sharpened by rubbing it against an Aari
Zilan being sharpened
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From left : Pulat , Brush for putting color (Kucha), Brush for rubbing wax (pronounced brwsh)
The Pulat is a tool that is a smooth stone which is mounted on a handle (Thaap). It is used to smoothen the surface of the wood . The stone on the top is pointed to reach shallow parts of the carved surfaces.
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Motifs
T
he decorative motifs are either symbols or ornaments. A symbol is an image of sense , a compressed representative form of what is signified , capturing the essential without being a mere depiction, and in a higher sense elaborating it allegorically. Symbol in its strickest sense in a religious and religious symbol to which is attributed a magical, spell binding power to conjure up the object. The popular motifs in woodcarving are mostly based on floral themes and are traditionally associated with some other Kashmiri crafts like papier mache,shawl work etc. In addition to floral themes, semi-geometrical patterns especially in the form jalli work are also employed in products like screens. The dominant floral themes are based on chinar leaf, grape, roses, iris, lotus etc. The motifs are to be found in a host of design patterns like gulunder-gul, hazar etc. Another common motif is the dual rendering of a tree with full blossom on one side and totally devoid of vegetation on the other side. This representation marks the seasonal transition from summer to winter. Jungle scenes are also depicted especially in deep three dimensional relief works. These scenes abound with the varied animal life of the region, including deer’s, jungle goats, snakes, beer, parrots etc.
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The Lhaasa dragon, a motif originated from Leh, but has as evolved as part of a common motif in wood carving in srinagar
A trend that emerged in the walnut wood industry in the later part of the 19th Century was the introduction of carving based on the Rubiyat of Umar Khayam.
The Chinar leaf is a popular motif amongst many crafts
Motifs Gul Tarah (Flower Motif): This design uses various flowers in a stylized version. The flowers may be represented individually, as bouquet or in the form of a plant with branches. Some of the common flower motifs used are; rose, gullal, susan, sumbul, yambirzal,yusman, lotus leaf and lotus, pambach,gul-i-aftab, gul-I-cheen, gul-i-dawood, khatai, sher dhana, ashq-I-pechan, hei-ther. Phulay Tarah (Blossom Motif): This design employs depiction of almond blossom, peach blossom, apple blossom, pear blossom, cherry blossom, saffron blossom mostly. Dach Tarah
Kandh Posh Dhar (Flowers with Thorns): This design employs the use of rose motif along with the branvches and the thorns. Gass-i- tarah( Grass): The motifs used are mostly of water plants and reeds. Mavi Dahar (Fruit bearing Trees): This design mostly employs the depiction of fruits like apple, pear, walnut etc. with or without the tree. Dach Tarah ( Grape Motif): One of the most popular motif in wood carving as well as papier mache depicting grapes along with the leaves and vine. Bhoni Tarah ( Chinar Motif): This design is based on the chinar leaf pattern and is one of the most popular motifs being employed in the market
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Bhoni Tarah
Badam Tarah (Almond Motif): The almond motif is rendered in this design in a stylized maner similar to that employed in shawls.. Janavar ti Jandhar Tarah ( Animal and Animate Motif): This design depicts various birds , animals and aquatic animal species. These include bulbul, parrot, hoopoe, dove, pigeon, mina, sparrow, crow, golden oriole, duck, geese, fish, lion, deer, rabbit, horse, snake, goat etc, mainly animal and bird species found in Kashmir. Aghdar Dhar (Snake motif): The design is based on the snake motif and iit usually employs the depiction of the reptile in pair.
Jungle Tarah
Sih Dhar(Lion Motif): In this design the lion is depicted along with his pride. Jungle Tarah (Jungle Scenes): This design is a refinement on the janvar tarah and includes the depiction of the surrounding physical landscape like the mountain, pine trees, streams etc. Scenery Dhar (Landscape): This design is based on general landscape and seems to have developed from a stylized depiction of the famous gardens of Kashmir with flowers, trees, terraces, water channels etc.
Sih Dhara
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Motifs Dal Tarah (Dal Scenes): In this design scenes from the Dal lake depicting its aquatic life are depicted. Shikar Gah (Hunt Scenes): This is also a favorite design pattern mostly employed in Undercut wood carving depicting hunt scenes with a king mounted on elephant or horse along with his entourage . Darbar Dhar (Court Scenes): In this design court scenes are depicted along with Persian or Kashmiri couplets. Jang Dar (War Secenes): This design is based on battle scenes.
Gule Aftab
Gule Aftab :Floral pattern showin sunflower Shakli Dhar (Portraits): This design is basically a form of wooden sculpture portraying famous personalities. Harfi Dhar: This design is based on carving of Arabic, Persian or Kashmiri verses. Taveez Dhar: It is similar to Harfi Dahr design the only difference being that in this pattern Quranic verses are engraved. Hashiyi dhar (Border Motifs): This design is basically used along the borders and is based on floral motifs one, two or three layer deep.
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Sozni raizkar
Chand Chotahi Dhar: This design involves the depiction of a central design motif (chand) on a plane surface with four motifs along the corner ( chutahi) . Raiz Kari: Intricate floral work is known as Raiz kari . Pura Kar (Full Work): In this design the whole surface is covered with dense floral patterns Weth Kaam: It is an inferior form of carving wherein the motifs are rendered in a bold maner . Sozni raizkar : This design has been extracted from sozni embroideries
Gulab
Kashir Tarah: In this design Kashmiri lifestyle as prevalent in the 19th Century is depicted. This includes the depiction of traditional dress as prevalent in the 19th Century and early 20th century. The scenes depict urban as well as rural surroundings, thus this form of woodwork also acts as a pictorial representation of a life style no longer in vogue . Gulab Tarah: This design depicts roses as a motif Pamposh Tarah (Lotus): This design shoes the lotus flower from kashmir
Pamposh
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The Process Of Wood Carving
Walnut wood scattered around a mill
Cracks on the base of the walnut tree
The Process Of Wood Carving
Mill
T
he process of wood carving begins with procuring walnut wood from the mill. The trees are cut by the timber traders from places like Pahalgam, Budgam, Anantnag and Ashmuqam and brought down to the mill. The trees can only be cut by government permission when they are at least a hundred years old which is the time when it stops giving fruit. In the mill huge logs are stacked where the craftsmen then choose and buys the wood. They make a rough estimate of the quality of the wood by checking for cracks on the base of the logs and accordingly select their piece.
Stacked wood in the mill
The huge logs are then cut by a bent saw. Since the logs are huge and very heavy a Jack is used to pull them where it is kept on a trolley which moves under the aara1 where the logs are cut into planks and are taken to the workshop Wood being cut by aara
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Bandsaw
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The Process Of Wood Carving
Chaan
When the wood is brought to the workshop it is left in the open for 2-3 days in the field after which they are stacked to prevent cracking and left to season for a period of 6 months to 2 years. Kiln seasoning is avoided as it removes the precious oil from the wood. This oil gives a good finish to wood and also makes the wood easier to carve on. This oil is however retained while air seasoning and therefore this method is much preferred. Wood stacked during seasoning
The wood when cut is estimated to shrink to about 1-2 inches in thinckness even after seasoning and 1 so the chaan needs to cut the wood accordingly, estimating the shrinkage. He then puts randa2 on it and leaves it open for 4-5 days for the shrinkage to happen. After that he takes the wood and cuts the actual size according to the product but does not assemble the final product yet, as it is hard carve on assembled products. So the pieces are then sent the wastakar3 and each piece is carved separately by him.
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Carpenter Planar 3 Master Craftsmen 2
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Lakhun : Drawing
The Process Of Wood Carving The wastakaar carves the wood in several stages. They are :
Wastakaar
Zameen kadun : In this deeper digging of the motif is done to obtain the depth of the entire carving.
Lakhun : This is the first stage of wood carving which involves drawing the motifs on the wood with a pencil. Dagun : In this step the motif is marked with a chisel. The master craftsman starts directly with this steps and skips Lakhun because of his superiority in skills.
Daagun
Zameen kadun
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The Process Of Wood Carving Guzar: This step involves giving deeper intricacies to the outline of the motif.
Wastakaar
Kaanjiwaar :This is a major stage in carving which involves carving along the edges of the motif to obtain a 3- dimensional impression.
Raigmaar: Sanding is done to smoothen the motifs.
Guzar
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Kaanjiwaar
Sumba : The keel (nail) is used to give texture on the motifs. Dagi : The final details and intricate design are made in this step and is the last step of carving.
Sumba
After this the pieces are assembled by the chaan, if need be, and then sent to the Roshangarh for polishing the product
Chaan assembling the pieces after carving is done
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The Process Of Wood Carving
Roshangarh
Zilan : Because it is very sharp it works as a planar and smoothens the srurface without harming the carved surfaces. 1 Raigmar: The Roshangarh then uses a cotton rigmar no.120 on plane surface and no. 80 raigmar on carved surface to further smoothen it. Walnut color: A special color is applied on the work which is made by boiling the walnut shells in water. This color compliments the color of the wood and is is very srtong. It is applied by brushes on the wood.
Applying walnut color to the wood
Polish : A mixture of powdered color and wax is used as polish. Khaka : On carved surfaces polish is applied by a brush.
Waz used for polish 1
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Polisher
It is then kept out in the open for 1-2 days and is then polished with stone . In the final step the wax is applied without color and soft cotton cloth is rubbed over it and the product is then ready to go in the market.
Roshangarh using zilan on a flat surface
Product Range
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he range of products. On which a beautiful array of carved designs in kashmiri style may be seen. They may include varied items of furniture, trays, bowls, spoons, doors, windowsm decorative panels, wood carved decoration on cielings, facadesm carved pillarsm boxes, picture frames, cradles, etc. Over the period, because the shift in lifestyle, the diversity in products has increased.
A wooden fork
Spectacle stand
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Product Range
Shikaras of walnut wood made as souvenirs of Srinagar
A carved kingfisher
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A wooden panel showing the famous Shalimar bagh
Napkin Holders
Dry fuit bowl in the shape of a chinar leaf
Trays with beautiful chinar motifs
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Product Range
Cigarette case with a little magic
Name plates carved on Walnut
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Mirror frame
A clever wooden box
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Product Range
Beautifully carved pieces on walnut
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A necklace completely made of carved walnut wood
Beautifully carved chess pieces out of walnut A Dry fruit boz carved with an image of the entire Srinagar
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Market
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he market of walnut wood furniture is huge, in Kashmir as well as the whole of india. However, the export is limited through thrird party dealers as small businessmen do not have license to export themselves. The producs ranges from Rs 50 to 50 lakhs depending on the work of the craftsmen and the product itself.
Shop V.I.P Parking Hazratbal, srinagar Kashmir, 190011, India
Shop in Hazratbal
Workshop House no. 138, Lane no. 3 , Umer Colony A, Lal bazar, Srinagar , 190011 India Delhi 238/4 Shaheen Bagh, Abu Fazal Enclave part 2 Okhla, New Delhi, 110025 Phone number 0-9419005242 0-9796595072 0194-2425176
Workshop at lal bazar
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Uniqueness Of Walnut Wood Carving
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alnut wood carving is unique in many ways. The products are completely made by hand and therefore, is very time consuming. The result however, is that no design can be replicated and every product is unique. Mass Production is not possible, though, production by masses is possible. The wood itself makes the craft unique. Kashmir is amongst the very few places in the world where walnut wood is available and because it is locally available as a material, wood carving is only practiced in Kashmir. The oil in it makes the wood perfect for carving. Its tight grains and color give it a very fine finish. It is durable and resistant to insects which gives it a long life and therefore, gives the product an antique value.
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Existing Scenarios
T
he businessmen and workers associated with walnut woodcarving industry in occupied Kashmir are a worried lot, as the scarcity of walnut has hit the industry hard, which is affecting their livelihood. Once upon a time the export of furniture was worth Rs.15 billion and out of that the walnut woodcarving business used to be around Rs. 3.5 billion, but now it has decreased to Rs. 2.5 billion. Earlier, the walnut raw material was available in sufficient quantity and the artisans in this trade earned good amount of money as items made of Walnut are in demand across the country. Now, this age-old craft is losing its charm as the raw material meant for walnut furniture is being used in house building. Over the last 15 years, the number of artisans in wood carving as reduced drastically. There is a lack of acknowledgment of the craftsmen and they are not paid enough according to their skills. Knowing this, the traditional process of following the fathers footsteps and passing on skills down the generation is reducing. The crafsmen would rather do jobs and earn enough to feed the family.
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Bibliography The Valley Of Kashmir Art and Craft of Kashmir – D N Saraf P.H.D Thesis on History of arts and crafts of Kashmir – Tania Beg www.hertiageofkashmir.org www.inlovewithfood.blogspot.com
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