PAPIER MACHIE

Papier mache


KASHMIR PAPIER MACHE
History

The two men who stand out for their contribution to the development of this new culture are Mir Syed Ali Hamdani and Sultan Zain-ul Abideen. Syed Ali or as he is popularly known as Shah-i-Hamdan was a famous Persian mystic whois said to have been responsible for the widespread conversion to Islam of people in Kashmir. The Syed who fled to Kashmir from Persia following Timur’s invasion brought with him a host of artisans and craftsmen who found favor with local court. The 15th Century king of Kashmir Sultan Zain-ul-Abideen supplemented this work of Syed Ali. Most traditional historical references maintain thatZain-ul-Abideen invited craftsmen from all part of Islamic world especially from Iran and Central Asia. Indeed according to popular legends, Zain-ul-Abideen is said to have spent some time at Smarkand before his accession to the throne. This journey to the then heart of the Islamic civilization if it did actually take is would indeed have imbibed the young prince with a refined taste for art and crafts that were yet lacking in his own kingdom. And once he ascended the throne, the Sultan made a sustained attempt (even coercion) to enrich his land. Amongst the various crafts that got introduced in this period is the art of making lacquered pen cases known as kar-i-kalamdan.According to Encyclopedia Kashmir, the art of making pen cases from mashed paper was known in the Seljuk Iran; from where it must have spread to other parts of Central Asia including Samarkand. The art of kar-i-kalamdan does not seem to have found much favor with the people of Central Asia and Iran where the metal and wooden pen-cases commanded the market. It was from Samarkand,according to a leading contemporary papier mache artist Mohammed Saleh Beigh that Zain-ul Abideen obtained artisans well versed in the art of kar-i-kalamdan or as it was alternatively called kar-i-munakash.

Most historical records maintain that the craft was to a large extent limited to the capital city of Srinagar ; a majorityof whom were immigrants from Persia or surrounding areas. Unfortunately no papier mache object from the Sultanate period (14th to 16th Century) survives today. The art must also have been practiced during the Mughal period but hardly any documentary evidences from that period survive to explain the nature and the extent of the craft. Mughal records, nevertheless make mention of the fact thatthe Kashmiris were renowned for their painting skills. Though the reference seems to be with regards to miniaturepainting, yet it does support the tradition of an established artisan community whose members might have diversified into the wider and more acclaimed field of miniature painting. Interestingly this is a tradition that find place even in contemporary Kashmir. Many of the younger children associated with traditional papier mache (artisan) families, have switched over to painting after completing professional course from the Srinagar School of Music & Fine Arts.

During the course of the 19th century, a number of French agents were operating within the valley. These agents who were basically engaged in the trade of pashmina shawls also gave an impetus to the papier mache industry also albeit in an indirect manner. The shawls that were sent fromKashmir to France used to be packed in papier mache boxes and once they had reached France were sold separately; fetching high price. Soon these papier mache objects carved a separate market for themselves in France and other parts of Europe. Gradually along with boxes, papier mache flower vases were also in demand in the French market.

The extent of the French influence on the local Kashmiri artisan can be gauged from the fact that the term “papier mache” replaced the traditional name of the craft in its native place also. The French influence had its drawbacks, the most serious of which was the designs or color schemes that were introduced on the demand of the Frenchagents catering to the then prevalent European tastes.An interesting feature of the industry was the slow and steady replacement of paper as the basic material for the craft. In the latter part of the 19th Century wooden boxes made of silver fir (budloo) replaced the traditional paper pulp boxes. Thereafter in the 20th Century mashed paper and wood was increasingly replaced by ghata (paper board sheet). Thus today very few items that are sold in the Kashmiri market by the name of papier mache are made from mashed paper. Indeed what is referred to as papier mache both locally and in the outside market is the art of naqashi or the painting of various floral, geometrical and figurative designs and patterns on the various items, covered with lacquer.

ORIGIN
Making of Papier mache

This unique craft involves the use of paper pulp for creating beautiful artifacts painted by expert craftsmen in lifelike images of Kingfishers, maple leaves and other motifs. The traditional Kashmiri method of making Papier mache starts with waste paper which is soaked in water for several days until it disintegrates. The excess water is drained and the soaked waste paper,cloth,rice straw and copper sulphate are mixed to form a pulp. This mixture is placed in a mould and left to dry for two to three more days. On the drying of pulp, the shape is cut away from the mould in two halves and then glued again.T he surface is coated with the layer ofglue and gypsum,rubbed smooth with a stone or baked piece of clay and pasted with layers of tissue paper.A base color is painted on,and a design is added free hand.The object is then sandpapered or burnished and is finally painted with several coats of lacquer. The ingenious papier mache artisans of Kashmir transform a variety of utility articles into rare art pieces. The creation of a papier-mache object can be divided into two distinct categories, the sakhtsazi (making the object) and the naqashi (painting the surface). The colours for painting designs on the surface are obtained by grinding and soaking various vegetable mineral dyes in pigment or stone form. The final product is abeautiful art work that cannot be called a creation of one artist. It travels many pairs of talented hands before reaching a table or a mantel. Above all other talents, the aesthetic sensibility and hereditary skills are most essential in these craftsmen.

Papier Mache Designs

The designs painted on objects of papièr mâchè are brightly coloured. They vary in artistry and the choice of colours, and it is not difficult to tell a mediocre piece from an excellent one. Gold is used on most objects, either as the only colour, or as a highlight for certain motifs. Besides the finish of the product, it is the quality of gold used which determines the price. Pure gold leaf, which has an unmistakable lustre, is far more expensive than bronze dust or gold poster paint. Varnish, which is applied to the finished product, imparts a high gloss and smoothness, and increases with every coat applied.
The paper Mache objects produced in Kashmir today vary from Christmas ornaments to coasters and include boxes of every imaginable size and shape. These objects are not only beautifully decorated, but are surprisingly light and strong. Their coating of lacquer protects them from water and gives them extra durability.
 Nowadays artisans have started using cardboard instead of paper. The object is not to deceive tourists but to reduce the price of these artifacts. Papier-mache vases, bowls and other decorative items have exquisite traditional designs in vibrant colors on them. The commonly used motifs on these artifacts are images of the maple leaf, kingfishers, flowers, birds and other attractive designs.Commonly sold papier-mache items include Christmas decorations, boxes, bowls and vases

Papier Mache Process

This Kashmiri craft recycles waste paper into beautiful artifacts painted by expert craftsmen. The wonderfully vibrant hand painted motifs on the different types of items look illuminated as a result of the shiny varnish finish. Paper Mache (also spelled Papier Mache, Papier Machie) has along and rich tradition in Kashmir, it is a delicate decorative art which shows the artistic zeal of a craftsman.Motifs are most commonly nature oriented such as birds singing or flowers bursting forth in full bloom. Paper Mache products include home decor (such as letter holders, coaster sets, napkinrings etc.) decorative items (including picture frames, candy bowls, tree ornaments etc.) and apparel (bangles).The process for making paper mache is relativelysimple but takes quite a bit of time and labor. There are two main steps in the process of creating paper mache items. The first is the sakhtsazi, or the actual production of the item. The second is the naqashi, when the item is painted with any number of motifs.The traditional Kashmiri method of making Paper mache starts with waste paper which is soaked in water for several days until it disintegrates. Theexcess water is drained and the soaked waste paper, cloth, rice straw and bonding agents are mixed to form a pulp. This mixture is placed in a mould and left to dry for two to three days. On thedrying of pulp, the shape is cut away from the mould in two halves and then glued again. The surface is coated with the layer of glue and gypsum, rubbed smooth with a stone or baked piece of clay and pasted with layers of tissue paper. A base color is painted on, and now the item is ready for the artist to grace it with his design.The design is painted on free hand. Often the painting is done in relief, with certain pieces of the design subtly raised. This gives a quality of dimensionality to design which adds to the beauty of the final product. Paint used may have a metallic quality which adds to the illuminated feel. After the design is complete the final step is adding a layer or more of varnish to give the item its characteristic shine.