‘‘ Maybe you are searching among the branches, for what only appears in the roots.’’ - Rumi
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Preface In accordance with the NIFT curriculum, with the culmination of second year, it is mandatory to perform a field study on any Indian handicraft followed by a detailed documentation. The cluster initiative allows the students to expand their horizon on Indian handicrafts. The documentation was done with a systematic approach and was re-evaluated during each stage. In this book we have tried to touch every aspect which is associated with paper mache craft, right from the scratch to the finished product.
CONTENTS
Acknowledgement
01 02
Abstract
03
Introduction
07
Tools
12
Market Analysis
08
System Map
13
Group Members
09
Detailed Process -
Factors and Conditions
04
- Geographical - Demographic - Economy
05 -
06
Pre-process Main Process Post Process Main Process
History and Evolution
10
Cluster Profile
About the Craft
11
Artisan’s Profile
History of Craft Past Trends Present Trends Future Possibilites
- Art and Craft - History - Paper Mache Craft
Acknowledgement On the journey of creating this project quite a lot of people have helped us in each stage, we express our utmost gratitude to each and every one of them. First and foremost we thank National institute of fashion technology for creating an opportunity to explore the rich handicrafts of our country. We thank our mentor Mr. Syed Azher for encouraging and supporting us throughout the project. Mr. Burhan for his valuable insights and equipping us for the field. We thank the officials of craft development institute for providing us their craft resource centre.
Finally and most importantly we thank the artisans for baring with us and sharing their knowledge on paper mache craft.
Abstract On the journey of creating this project quite a lot of people have helped us in each stage, we express our utmost gratitude to each and every one of them. First and foremost we thank National institute of fashion technology for creating an opportunity to explore the rich handicrafts of our country. We thank our mentor Mr. Syed Azher for encouraging and supporting us throughout the project. Mr. Burhan for his valuable insights and equipping us for the field. We thank the officials of craft development institute for providing us their craft resource centre.
Finally and most importantly we thank the artisans for baring with us and sharing their knowledge on paper mache craft.
Geographic Srinagar, summer capital of Jammu and Kashmir is situated in the Kashmir region of the Indian subcontinent. The city lies along the banks of the Jhelum River at an elevation of 5,200 feet (1,600 metres) in the Vale of Kashmir.
Summer capital is situated in the centre of Kashmir valley and is surrounded by five districts. In the north it is flanked by Kargil, in the South by Pulwama, in the north-west by Budgam and Baramula and Anantnag in the eastern territory, amid clear lakes and lofty forested mountains. There are a number of lakes and swamps in and around the city. These include the Dal, the Nigeen, the Anchar, Khushal Sar, Gil Sar and Hokersar
Demographic Srinagar has the distinction of having multifaceted and unique cultural blend, making it exclusive from the rest of the country, not only from the different cultural forms and heritage, but from geographical, demographically, ethical, social entities, which forms a distinct spectrum of diversity.
The district has a population density of 703 inhabitants per square kilometre (1,820/sq mi). Its population growth rate over the decade 2001-2011 was 23.56%. Srinagar has a sex ratio of 879 females for every 1000 males, and a literacy rate of 71.21%.
Economy Srinagar was the 92nd fastest growing urban areas in the world in terms of economic growth, based on actual data from 2006 onwards and projections to 2020 .The city has an important place in economy map of India. Although agriculture Tourism is the base of economy of Srinagar but other business which has developed due to tourism also contribute in large amount of economy i.e; hotel business, handicraft business etc.
Jammu and Kashmir derives its economic strength from handicrafts in a big way. This sector engages approximately 3.74 lakh artisans in the state. Handicraft sector is significantly contributing to the State economy and acts as a strong support to the state economy. Being labour intensive handicraft sector can go a long way in solving the unemployment problem of the State. Besides, this sector plays a major role in enhancing the foreign exchange earnings of the State.
Factors and Conditions According to the wire report the implementation of GST has hit the already ailing handicrafts sector in the valley as all handicraft items have been taxed at 12% in the new central tax regime. Since the last few years, the handicrafts sector in the valley has witnessed a slump, particularly after the 2014 floods. The new tax regime under GST is putting an additional burden on the artisans and exporters associated with this sector who are now up in arms against the state and central government, calling for the immediate rollback of GST.
The addition of technological changes, new design and product diversification with renowned institute such as craft development institute or any other educational institution along with identifying and promoting various handicrafts clusters in the state, giving them necessary support in design development, production and marketing of various handicraft items. Are some pragmatic approach taken in flourishing papier mache craft in Kashmir.
Papier mache craft comes under the registered geographical indication. (A geographical indication (GI) is a sign used on products that have a specific geographical origin and possess qualities or a reputation that are due to that origin. In order to function as a GI, a sign must identify a product as originating in a given place.)
The identification authenticity • Nowpora • Dualatabad • Zadibal • Bota – kadal • Lal bazaar • Madin sahib • Tarai – bal • Ahmda – kadal • Rajouri – kadal • Badam –wari And other adjoining areas According to the artisan, they don’t get much support from any government authority all they receive is loan or subsidies in offer. After certain research it is known government provides some incentives and subsidies to artisan and training program in training centres. Awards and honour are provided to the master artisans.
Art and craft Jammu and Kashmir is a treasure trove of art and craft. The various tribes residing in the valley, the Mughal connection, the Persians and then the Tibetans have continuously contributed to and enriched the tradition of art and crafts in Srinagar. Kashmiri handicraft have become quite famous among the population all over country and abroad, that large part of these are exported to feed the demand of Kashmiri handicrafts outside India due to increasing demand Kashmiri handicraft is available and exported even outside India.
The craze for art and crafts in Srinagar therefore still is raging among tourists visiting Srinagar. Pashmina shawl, dress material, carpets, hand woven rugs, woollen garments, jackets, embroidered pheran, scarves, embroidered bags and dress material with naqashi work are some of the handloom material brought great number of tourist. Carved walnut wooden furnitures, silver utensils, brass and copper showpiece, hand woven basket made from willow tree and wood are also very popular item of Srinagar. Papier mache item like small boxes, vases, jewellery box are speciality of this region.
History Despite the French sounding name, papier mache was not made in France until the mid-17th century. However, they were the first country in Europe to do so. Papier mache actually originates from China; the inventors of paper itself. They used papier mache to make helmets of all things, which they toughened by many layers of lacquer. Examples have been found dating back to the Han Dynasty (BC 202 – AD 220).
From China, the interest in papier mache spread to Japan and Persia, where it was used in mask making and festival activities. Eventually it spread across the world. Large imports of papier mache objects swamped European markets. This in turn led France to start making its own wares, and England followed suit in the 1670s. There was only a half-hearted interest until the late 1700s and into the 1800s, when it became widely used.
Papier mache in Kashmir
Papier mache is introduced in Kashmir by Sultan Zain-ul-Abedin in 1417-67 AD after he returned from detention in Samarkand, Persia. He brought along Persian artisans of various skills to develop the craft in Kashmir valley. The art of papier mache were obtained from Samarkand, which is a part of Central Asia. In Samarkand, this art was also known as kar-i-munakash. The craft known in Kashmir as Kar-i-qalamdan because the art of painted papier-mâchÊ in Kashmir was originally confined to making Kalamdan or the pen-case only and got to be known as Kari-Kalamdani.
Many historical records claim that this craft was restricted mainly to Kashmir, particularly in and around the region of its capital Srinagar. It is said that the Shia community, whose members had migrated from Persia largely practised it.
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 fine surface for the painting. This form of naqqashi was also known as kari-munaqqash (Munaqqash: decorated or picturesque).The most renowned artist of this time was Mohammad Husyn. When Mughal Emperor Akbar occupied Kashmir, Huysn received the title of Zarrin
Qalam (the golden pen) from him.
In the 19th century, it was some French agents who were stationed in Kashmir who had encouraged the growth of the papier mache industry, though in an indirect manner. These French agents were involved in the trade of pashmina shawls and transported these materials in beautifully crafted papier mache boxes, from Kashmir to France. Gradually, Gradually, The French developed a taste for papier mache objects and boxes, flower vases and other items composed of papier mache flooded the French markets. The influence of the French were evident from the fact that the original name of this craft was replaced by the word papier mache even in its local place.
The technique of painting on papier-mache 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 fifteenth century onwards is clearly indicated by literary sources documented by William Moorcroft and a French traveller in’ Bernier’s travelogues’ from 1665.
But with time unique craft of papier mache is dying to restore its glory, the Government of Kashmir has included papier-mâché as a curriculum subject in schools.
Papier mache craft flourished in India during the regime of the Mughal rulers. 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.
About the Craft Papier mache is one of the most beautiful handicrafts of Kashmir. The craft was locally known as kar-e-kalamdani, pen case work. The construction of Papier Mache products has two essential processes -sakthsazi (mould making) and naqqashi (painting). Sakhtsazi involves making the base product from the pulp of paper into the desired form while Naqashi
Tools Required
Saw – for cutting the product to release sacha; the mould Scissors- for cutting cardboard or wires. Stones- For finishing Wooden block-For finishing Spoons-For finishing and detailing.
is the painting process done over it. Materials Required
Discarded paper, cardboard and newspaper for the pulp, rice starch and water for adhesive, wooden or clay moulds, fevicol and water
- Mass produced legs.
System Map
Detailed Process Of Pulp Moulding The artisans who are engaged in the activity of moulding are known as Sakhta saaz( pulp moulders), they are the heart and soul of this craft. Sakhta refers to the construction of the base object. The shape of the sakhta determines the nature of the object, which may be decorative or utilitarian. The making of sakhta is the most important part of the craft because if the strength of the base determines the durability the product. Sakhta is also made with wood. Economically pulp moulders suffer because they contribute to a part of the process and people get confuse between naqqashi and papier mache and consider naqqashi as the most valuable part of the craft. The process can be divided into 3 major parts which can be further divided into sub categories : 1. Pre-process 2. Main-process 3. Post-process -Uncanny resemblance to rodents!
1
Pre-Process a) Collection of Raw materials Paper which is the principle material for this craft is acquired from the junk or scrap dealers (Bhangar Wala), printing press, schools and other sources.
b) Preparation of Glue
Rice flour and water are the conventional ingredients for paper mache adhesive. Rice flour adhesive is widely used on number of reasons, it’s efficient, cheap and effortless to make. Adhesive is prepared by boiling the rice starch, mixed to the consistency of heavy cream. A pesticide (Nilthuth) is added to the glue to avoid insects like silverfish to attack the product in the future.
c) Acquiring of moulds Moulds (sacha) can be either of clay or wood (Plaster of Paris is also used in making of moulds but there are certain constraints in it). The pulp makers acquire it from the woodworkers or the potters. Moulds are helpful for the new sakht saaz to become proficient with the craft and also speed up the process. Also, moulds help in maintaining uniformity of the product. Each unit has certain number of sachas which are used until it decrepits.
2
Main Process
a) Grinding of paper
1. Paper is soaked into large tanks of water for two to three days. 2. Excess water is squeezed out from the paper and is then hand grinded in a stone mortar (Kanz) with a wooden pestle (Muhul) by a person who is hired and paid per day, for a uniform consistency. This paper pulp is then left to sun-dry. 3. Further it is stored in wooden boxes.
c) Making of the paper pulp Grinded paper and glue are mixed and kneaded till the mixture reaches clay like consistency and the glue is fully absorbed by the paper.
c) Getting the moulds ready The moulds that were bought from the woodworkers on the potters are covered by newspaper with glue (glue should not be on the mould) before applying the paper puld, for the easy removal of the moulds.
d) Moulding the pulp
1. Rough paper pulp is used as a first layer of the product. 2. Another external mould is used to give the required shape of the product. The interior of outer mould is covered with a layer of polythene, the polythene exists as a barrier between the mould and pulp. The space in between is packed with pulp. Mould is secured and an external pressure is applied to allow the mixture to set and acquire its shape properly. 3. The external mould is then carefully removed (polythene facilitates the easy removal of pulp from mould) and the product is left to dry for 4-5 days in the sun.
4. Once fully dried, the internal mould is released by cutting the product from the centre. 5. Then the product is fixed using fevicol to regain its former shape. 6. The adhesive is added in larger amount to the rough layer pulp to increase its strength once it dries. Because this layer acts as the base after the clay sacha is removed.
e) Detailing of the products 1. Finer pulp is used for the second layer which is basically the finishing layer. Later, final work is performed on this layer. The whole process is repeated while applying the finer pulp. 2. After removing the mould, the product is left to semi dry. 3. While the product is still wet, they are taken to carry out final finishes (when it is completely dry, the product becomes difficult to work with).
Assembly line, trunks and legs are to be fitted with the body.
f) Drying of the products 1. In summers the products are dried outside in the sun. 2. In winters, artificial sources like heaters or a wooden fired furnace are used to fasten the drying process.
The pulps are dried in the sun.
The pulps are dried in a specially heated chamber.
60
3
Post-Process a) Pishlawun
The product is then handed over to the womenfolk of the family to smoothen it. Pishlawun is the application of a light coat of Saresh (lacquer) on the object. This is followed by a second coat consisting of Saresh mixed with chalk powder and water. The product is then left to dry. The Smoothening of the surface is then followed by rubbing the object with “Kirkut� which is either a small piece of over burnt brick or pumice stone (sangh-i-paaya). The kirkut is gently rubbed along the surface of object. The fourth coat consists of rubbing the object with hand.
b) Naqashi
The object when it first reaches the Naqash is covered with a thin paper strips of butter paper pasted on the object by means of glue. This thin layer acts as barrier between the plaster covering the object and the paintwork, ensuring that the painted surface does not crack. The surface so formed is then covered with a base coat of paint. Gold is mostly used to highlight certain designs which are applied with the help of pointed brushes and rubbed with a stone commonly called an ‘egged stone’ to impart a high gloss to it. After the design is complete the final step is adding a layer or more of varnish to give the item its characteristic shine.
Shrinkage The pulp is made of paper and water and glue which is also a water based substance, therefore when kept to dry all papier mache objects shrinks. Shrinkage is kept in mind while making products. When a square of 10 inch is to be made, it is recommended to keep at least half an inch extra to compensate the shrinkage. The amount of glue in the pulp is directly proportional to the rate of shrinkage. The quantity of glue will be comparatively more in the rough layer than that of the final(finer) layer. This is to make the rough layer stronger. While it increases the strength shrinkage also occurs If the drying process is not performed efficiently the product might lose its form while shrinking
Cluster Profile Location-
Khaniyar, Nowpura, Taikidar Muhalla Distance and transportation 3.4 km from Lalchowk; take 11 minutes to reach by car via NH1. Will take around 10 mins in local cab From Srinagar airport-14.5km; takes 45 minutes to reach by car via Airport road. From Srinagar Railway Station-15.5 km; take 42 minutes by car via NH1 Public transportation- local buses runs frequently from lalchowk to nowpora. Buses destined to khaniyar halts at nowpora chowk, from where the cluster is at a walking distance. There is no shortage of buses in this route.
The cluster is a two storied building in a residential area, with 10 artisans working in it. The cluster is headed by the master artisan (ustad), Khasaur Ahamed Shah, who works on the crucial fraction of the craft while others are indulged in various pre and post process(grinding the paper, preparing the glue, kneading the pulp etc. They mostly make elephants in this cluster but there is a small number of production of paper mache balls and boxes as well. Working time in this cluster is-9amto6pm. Here the artisans only perform papermache moulding (sakt) products and sell them for further processes.
Artisan Profile Abdul Hamid Papier mache artisan
Age- 40 Education- has not completed high school, but can speak 6-7 languages including English. He acquired fluency in English during the time he spent in Europe. He has been to Europe twice. Family- has 6 members in his family including his mother, wife, 3 children and himself Working experience - 22 years, started working when he was 6 years old, worked in India till the age of 24 and then went to Europe in search of job, after 10 long years decided to return to Srinagar to lead a life of an artisan. He now owns a shop in Goa and does business with foreigners, but does not prefer to stay outside Kashmir because of his family. He does not hold any particular interest in doing this craft, but is doing papier mache so as to retain the craft which was passed onto him.
Working timing- Depends on number of products to be made. Usually works from 9 in the morning to 6 in the evening. Sunday, he take the day off. Earning- he earns 1000-1200 per day. Mass orders in between helps him to get ample amount of money. Got the order to make 100 elephants, in which he earned 25000 Views-he is in this profession because he wants to make decent money and stay close to his family, but the current situation of this craft is unpleasant for artisans, if the situation worsens he might even switch his profession. Because of all this he does not wish to involve his children to this profession.
Shabir Ahmed Mir Age- 45 Family- He family consists of his wife and 3 children, his elder daughter is in 5th standard, and son is in 1st standard and a baby girl of 8 months. Working experience - he has working experience of 13 years in papier-mâchÊ craft. Working timing - 9am to 6 pm Earning-he earns 11000 per month, which is not adequate to meet the monthly expenses, but somehow he is making ends meet. Working interest- He took this profession since most of the people in his neighbourhood was involved in papier mache craft including his cousin. Views- According to him the craft is dying and there is no place to earn good money in this craft; so does not want to teach the same craft to his descendants.
- This is the birthplace, and he is the creator.
Market Analysis Products
There were hardly any papier mache products without naqashi painting on it. There is a huge misconception that papier mache products are for ornamental purposes, but there is wide range of utility products available in the market. It is ironic that in spite of its utility value people principally buy papier mache products to keep in their shelves. A rectangular box is the most common product in the market, which comes in different dimensions.
Jewellery box is usually finished with gold leaf and also have velvet lining, and the one without the lining is meant to keep dry fruits. The boxes are also available in oval and circular forms. Other utility products include serving tray, tissue box, pen box, pen, tea coasters, vases, key chains etc. It can be observed that almost every papier mache store has an array of Christmas tree decorations, seeing that western countries particularly America and Europe are major consumers of this handicraft.
Wall plates, Easter eggs, kangris and elephants are other articles in the decorative section. Papier mache is also available in the form of jewellery. Bangles and ear rings being the common product in this section, neck
Location of stores
Tourists and craft enthusiasts are the primary customers of papier mache products, which is why major percent of stores are in boulevard road. Polo view road in Lal chowk also have plenty of stores which sells this high end Kashmir craft. Lal chowk market does not have any handicraft stores except the Kashmiri handicraft emporium store.
Price of products
Price range in the same store/price of same product in different stores Road side vendors in boulevard road sells key chains, 4x3 boxes and souvenirs (mainly shikaras) at the cheapest price, while the stores in the same place had a higher price range. Polo view road being a high end shopping street in Srinagar, the price of papier mache products in those stores ranged from Rs.25-50000. The stores there target the elite class in tourists and the crowd who would choose quality over price.
Surprisingly the most expensive papier mache were found in the Kashmiri handicraft emporium, a govt organization! In spite of their pricey products, emporium was still making a decent profit. There are countless cases where people have been fooled wooden counterfeits of papier mache, the products they sell by the name of papier mache were in fact wooden merchandise embellished with naqashi, and it is easy to fool a tourist who has inadequate knowledge about the craft. Therefore the customers who doubt the credibility of such privately owned stores comes to emporium stores for authentic papier mache.
As mentioned earlier, papier mache is mostly found with naqashi embellishment, sakhtazi as an own does not seem to have a potential market in India as well as abroad. At times it is naqashi is misconceived as papier mache, although technically sakhtazi is more close to the term papier mache. But then Kashmiri papier mache is an amalgam of sakhtazi and naqashi.
Group Members
Akash Kumar Anjani Pandey Anushka Basu Jasper William Fernandez Mansi Srivastava Prachi Srivastava Rajnish Kumar
NATIONAL INSTITUTE OF FASHION TECHNOLOGY, SRINAGAR