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Papier-mache Art ‘Heritage of Kashmir’

Papier-mache art

Papier-mache art

Papier-mâché is the French word for "chewed paper", which is a standard English loan word, for objects made by moulding paper pulp in various shapes and then decorating them with designs in various colours. Papier-mâché sculptures are used as an economical building material for a variety of traditional and ceremonial activities, as well as in arts and crafts. In the figurative sense the word 'papier-mâché' has come to be identified as the art of Kashmir.

Prepration Method

There are two ways to make papier mache. There is a method of sticking strips of paper together with glue, and a method of adding glue to paper pulp obtained by soaking or boiling paper. For the first method, you need a base to which you will glue the strips of paper. The second method allows the pulp to be molded directly into the desired shape. In both methods, reinforcements with wire, chicken wire, lightweight shapes, balloons or textiles may be needed.

Papier-mâché with the strips method for the creation of a pig

Papier-mâché with the strips method for the creation of a pig

The traditional method of making papier-mâché adhesive is to use a mixture of water and flour or other starch, mixed to the consistency of heavy cream. Other adhesives can be used if thinned to a similar texture, such as polyvinyl acetate (PVA) based glues (often sold as wood glue or craft glue). Adding oil of cloves or other preservatives, such as salt, to the mixture reduces the chances of the product developing mold.

Papier-mâché mask created with the pulp method

Papier-mâché mask created with the pulp method

For the paper strips method, the paper is cut or torn into strips, and soaked in the paste until saturated. The saturated pieces are then placed onto the surface and allowed to dry slowly. The strips may be placed on an armature, or skeleton, often of wire mesh over a structural frame, or they can be placed on an object to create a cast. Oil or grease can be used as a release agent if needed. Once dried, the resulting material can be cut, sanded and/or painted, and waterproofed by painting with a suitable water-repelling paint.

History

Imperial China:

The Chinese during the Han dynasty appeared to be the first to use papier-mâché around 200 AD, not long after they learned how to make paper. They employed the technique to make items such as warrior helmets, mirror cases, snuff boxes, or ceremonial masks.

Ancient Egypt:

In ancient Egypt, coffins and death masks were often made from cartonnage—layers of papyrus or linen covered with plaster.

Middle and Far East:

In Persia, papier-mâché has been used to manufacture small painted boxes, trays, étagères and cases. Japan and China also produced laminated paper articles using papier-mâché. In Japan and India, papier-mâché was used to add decorative elements to armor and shields.

Europe:

Detail of gilt papier-mâché as applied to an English picture frame Starting around 1725 in Europe, gilded papier-mâché began to appear as a low-cost alternative to similarly treated plaster or carved wood in architecture. Henry Clay of Birmingham, England, patented a process for treating laminated sheets of paper with linseed oil to produce waterproof panels in 1772. These sheets were used for building coach-door panels as well as for other structural uses. Theodore Jennens patented a process in 1847 for steaming and pressing these laminated sheets into various shapes, which were then used to manufacture trays, chair backs, and structural panels, usually laid over a wood or metal armature for strength. The papier-mâché was smoothed and lacquered, or given a pearl-shell finish. The industry lasted through the 19th century.

Papier-mâché has been used for doll heads, starting as early as 1540, molded in two parts from a mixture of paper pulp, clay, and plaster, and then glued together, with the head then smoothed, painted and varnished.

Detail of gilt papier-mâché as applied to an English picture frame

Detail of gilt papier-mâché as applied to an English picture frame

Kashmiri Papier-mache:

Kashmiri papier-mâché is a handicraft of Kashmir it was introduced to India in the 14th century by the Persian mystic Mir Syed Ali Hamdani. He was visiting the Kashmir region from Persia, and brought along skilled artisans and craftsmen.The Persian method of making paper mache melded with similar art forms from Central Asia, and a unique branch of the art of paper mache was born. Over time, Kashmiri artisans added their own flourishes to the art form, bringing attention to their creations from all around the world.

19th-century pen box made of papier-mâché, with paint and gold leaf.

19th-century pen box made of papier-mâché, with paint and gold leaf.

These are made in homes, and workshops, in Srinagar, and other parts of the Kashmir Valley, and are marketed primarily within India, although there is a significant international market. The product is protected under the Geographic Indication Act 1999 of Government of India, and was registered by the Controller General of Patents Designs and Trademarks during the period from April 2011 to March 2012 under the title "Kashmir Paper Machie"

Asia Crafts is one of the oldest papier-mâché shops in Srinagar.

Asia Crafts is one of the oldest papier-mâché shops in Srinagar.

History of Kashmiri Papier-mache

The technique of papier-mâché, which uses paper pulp to make ornaments, was first introduced to Kashmir by King Zain-ul-Abidin in the 15th century. Sufi mystic Mir Sayed Ali Hamdani came to Kashmir with his followers in the late 14th century. Many of them were craftsmen. These artisans used handmade paper pulp from Iran , Central Asia. It is also said that the prince had been imprisoned in Samarkand in Central-Asia for many years. The leader of craftsmen, Mir Syed Ali Hamdani, a Sufi mystic, also known as Shah-i-Hamdan, was also instrumental on converting people in Kashmir to Islam.

During the Mughal era, its use was extended to include many items of home furniture that were made in Kashmir. Many notable objects of this type are exhibited in museums in many parts of the world. The basic method followed was to apply the papier-mâché on wood work, and one such work can be seen in Kashmir at the Madin Sahib Mosque built in 1444, the ceiling of the Shah Hamdan Mosque and the Shalimar Garden, a Mughal garden in Srinagar. This tradition of using papier-mâché or pulp on wood work to be colourfully painted with different designs is very much in practice even today. Some of the older designs involved intricate painting of kingfishers, maple leaves and other designs, such as "Arabesque", "Yarkand" and "Hazara".

To encourage this art form to proliferate, the Government of Kashmir has included papier-mâché as a curriculum subject in schools.

Papier-mâché art work on Madin Sahib Mosque

Papier-mâché art work on Madin Sahib Mosque

Manufacturing Process

The skilled artisans involved with this painstaking process are called sakhta makers. The materials involved with this process are discarded paper, cloth, straw of rice plant, copper sulfate, which are mixed and made into a pulp. The paper, after immersing in water for 4–5 weeks, is taken out and made into a pulp and dried. The dried paper is then converted to a powder. There is also a practice to mix the powdered paper with rice water to facilitate coagulation. The pulp thus made is applied on molds made in wood or brass. In earlier times, the mold was made of clay by the craftsman himself. It is also said that paper was just softened and not pulped and then applied in layers over the mold and drying it after covering each layer of pulp to get the desired shape. At the wet stage of application, the layers were covered with a muslin cloth and overlaid with another layer of material similar to plaster of Paris, locally known as gutchi.

Papier-mache process

A worker makes paper pulp to create a papier mache craft at a workshop in the downtown area of Srinagar city,

The present practice is, however, to complete the layering of pulp over the mold at one stage itself and then dry it before polishing it with gemstones. The artwork is then detached from the mold using a saw and then rejoined using dense glue. The joint is then rubbed slowly with a file made of wood known locally as kathwa. The surface is polished till all irregularities and edges become smooth.

Papier-mache process

Papier-mache process

The art object is then dried and given a varnish coat made of amber locally called kahruba or copal (sandirus) in a solution of methyl spirit. It is then sun dried. Following this process of drying the surface of the art object is cleaned thoroughly with a wet cloth. Then the surface of the artwork is again treated with a coat of silver and gold foils and then designs are created over the surface followed by a smoothing of the surface using gemstones such as jade (yashm). Then the art piece is again sun-dried and made ready for painting.

Papier-mache balls

Papier-mache balls

Aspects of Kashmiri Papier-mache

There are two important aspects of Kashmiri paper mache- Sakhtsazi and Naqashi. The first step, Sakhtsazi, involves making the foundation of the paper mache figurine or object with the paper pulp, while Naqashi is the final step of painting and decoration.

In the Sakhtsazi stage of making a Kashmiri paper mache item, the paper pulp is soaked in water for three or four days. It is then put in a stone mortar and ground so that all of the paper is uniform in its consistency. The pulp gets left in the sun to dry before being mixed with atji, a kind of rice glue.

A mold made of clay or wood allows the artist to shape the paper and glue mixture around it. The paper is taken off the mold before it is completely dry, and then shaped and lacquered to make the outside smooth. After the item has gone through the smoothing process, a thin layer of butter paper protects the outside and will eventually keep the outer layer of paint from cracking off the finished product.

A worker works on a papier mache craft at a workshop in the downtown area of Srinagar city,

A worker works on a papier mache craft at a workshop in the downtown area of Srinagar city,

During the Naqashi stage, a base coat of paint is applied. Then the artist makes their design by hand on the outside of the paper mache object, which means no Kashmiri paper mache item is the same. Traditional artists often use colors derived from minerals, organic, or vegetable bases.

Artisan working on papier-mache

Artisan working on papier-mache

Papier-mache art

Paper-mache box(detail)

Common themes that appear on Kashmiri paper mache products include flowers, box patterns, jungle motifs, and Kashmiri symbols like almonds and the chinar, a five-pointed leaf.

Kashmiri paper mache items are individually created, and each one tells its own special story. This ancient art continues to the present day, taking on new methods and ideas, but intrinsically staying true to its foundations brought to Kashmir by Mir Syed Ali Hamdani.

Papier-mache craft

Papier-mache craft

Papier-mache craft

Papier-mache craft

With new technologies and manufacturing techniques, the art of paper papier-mâché is slowly dying.The economic viability of the art, has taken a hit due to machine carving and artisans preferring other jobs. The art and its products most cater to the premier luxury sector with the price range on the upper side. Lower quality, cheaper machine products have given a tough challenge to the sector, with artisans struggling to keep the sector going.

Papier-mache art and craft

Papier-mache art Product

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