As Kashmiri crafts struggle, papier-m芒ch茅 artists find hope in creative evolution
| Srinagar, India
Papier-m芒ch茅聽dates back hundreds of years in Kashmir. Local folklore credits the 14th century Sufi saint Mir Sayyid Ali Hamadani with bringing the craft to this Himalayan region from Iran, and it flourished under a series of sultans, quickly becoming a symbol of Kashmir鈥檚 cultural identity.
But for a long time, the art form was limited to decorative boxes and other items molded from paper pulp.
Not so anymore. These days, the iconic designs popularized by traditional papier-m芒ch茅聽items can be found on bags, leather jackets, and home decor. Artisans apply their intricate designs on unconventional materials like steel, glass, and porcelain, using industrial paints for durability.聽
Why We Wrote This
In Kashmir, papier-m芒ch茅 artisans are struggling to overcome the challenges faced by many of the region鈥檚 traditional craftspeople 鈥� but they also see a reason for hope.
This creative evolution has expanded papier-m芒ch茅鈥檚 market appeal, with a new generation of clientele emerging 鈥� a group that includes interior designers, a local urban bourgeoisie, and international buyers. It could also help Jammu and Kashmir reach its annual handicraft export goal of $344 million by 2029. (The territory currently exports about $140 million worth of crafts per year, according to recent reports.)
It鈥檚 a relief 鈥� of sorts 鈥� to the Kashmiri artisans who have watched similar local crafts die out in recent years. To be sure, papier-m芒ch茅聽artisans continue to struggle with low wages and a lack of new talent entering the craft. Yet Hakim Sameer Hamdani, an architectural historian and design director for the Kashmir section of the Indian National Trust for Art and Cultural Heritage, says the industry itself is performing better now compared with 20 or 30 years ago.聽
鈥淎s a business, it鈥檚 thriving,鈥� he says. 鈥淭he internet鈥檚 role, especially social media and WhatsApp, in design inspiration and market expansion has further driven demand, allowing artisans to reach global buyers directly and removing middlemen.鈥�
In Srinagar city, Jammu and Kashmir鈥檚 summer capital, papier-m芒ch茅聽art adorns the walls and ceilings of everything from Sufi shrines and mosques to homes and hotels. It can also be spotted in the windows of boutiques, where tourists and locals alike browse ornate bags or leather jackets. Mohammad Ismail, a retired educationist in Srinagar who collects papier-m芒ch茅聽art, says artists are always innovating.
In papier-m芒ch茅,聽鈥渢he main focus is the design,鈥� he says, as he leaves a shop with a newly purchased bag. 鈥淚t is the color and the pattern, whether it is on a glass or paper, that is authentic.鈥�
Around the world, demand for classic papier-m芒ch茅聽designs 鈥� applied to modern products 鈥� is growing, says Rahul Dhar, founder of e-commerce platform Treasures of Kashmir. He鈥檚 been selling Kashmiri handicrafts since 2020, and in the last few years, interest in papier-m芒ch茅聽jewelry has surged on his platform.聽
鈥淓arrings, bangles, necklaces, are some items that are in heavy demand on our platform,鈥� he says, adding that many of the clients he interacts with are 鈥測oungsters.鈥澛�
For artists, customer enthusiasm doesn鈥檛 always translate into prosperity.
From his home in a historic neighborhood of Srinagar, Syed Maqbool Rizvi paints intricate floral patterns on a decorative box. His day started at 9 a.m. and will end at midnight. Despite having a loyal customer base that he communicates with via WhatsApp, he only earns the equivalent of about $5 for an entire day鈥檚 labor.
In Kashmir, the average day laborer earns $8.聽
The award-winning, seventh-generation papier-m芒ch茅聽artisan will be the last in his family to master the craft. His children 鈥� a son and a daughter 鈥� have chosen different paths.聽聽
鈥淭here were many families known for this craft, but their children have moved on,鈥� Mr. Rizvi says. 鈥淓veryone looks for private jobs these days 鈥� who can afford to sit from morning till night for this kind of work?鈥澛犅�
Government loans during the pandemic helped, he says, but it鈥檚 become almost impossible to make ends meet through papier-m芒ch茅聽alone.聽
Historian Bashir Ahmad Maliyar, whose doctoral thesis examined the evolution of Kashmir鈥檚 Mughal-era arts, crafts, and trade, says it will take more aggressive interventions to reverse the decline in active artisans.
Without policies that ensure fair wages, incentivize arts education, and promote the region鈥檚 crafts, 鈥減apier-m芒ch茅聽will vanish within 10 to 20 years,鈥� he says. 鈥淧eople may still practice it in isolated ways, but once the art dies, reviving it will be difficult.鈥�
