Kashmiri copper

Engraved and repousse copperware is one of the few art forms of Kashmir that was used extensively by the local population, the others being made specifically for visitors or exported to other parts of the world. Of course, with affluence among the local populace, there has been a greater interest and use of Kashmir (Cashmere) shawls, walnut wood furniture, rugs and silverware. But historically, most of the art forms of Kashmir were a luxury indulgence of the wealthy local aristocracy, landlords and foreigners of some means. 

References to engraved copper in Kashmir go as far back as the first century when in 72 AD, when Buddhist scriptures were said to have been engraved on copper plates, which, sadly are lost to history. In fact, the reference to inscribed copper plates come up in day-to-day, even to this day. When a Kashmiri wants to assert the veracity of his word, he says "Trama paetis peth dimay laekhith" which loosely translates as "I will inscribe (my statement) on a copper plate". Conversely, a Kashmiri can still be heard to say "Woen kya, trama paetis peth dimyi lekhith" which translates as the rhetorical question "Shall I inscribe it on a copper plate" or "You want me to inscribe it on a coper plate".

Despite the overwhelming use of aluminum, plastic, glass and steel, a significant number of Kashmiri homes continue the tradition of using pots, pans, eating and serving utensils, jugs and other items of household hold, of either plan or engraved copper. Despite the recent introduction of "Buffet style" for serving the traditional festive or large-scale Kashmiri cuisine, called Wazwan, many most Kashmiris prefer the use of the traditional copper serving plates called "Traem". Whether traditional or buffet style, the food is still cooked in large copper pots - a tradition, I hope, is not replaced by air fryers, any time soon. 

While the tradition has survived but the quality of engraved copper has severely declined. Some of the carving is now done by machines and in the the rare case that an item is hand carved, the work is very superficial, shoddy and unappealing.  Repoussé copper, as a skill, has sadly, died out from Kashmir. 

My collection, majority of which seemed to have been made for the European and English markets, represents some of the finest examples of engraved and repousse copper that has survived the copper smelter. 

In the absence of research material avaiable at the present, it is a challenge to accurately date the ages of the different pieces in my collection. However, based on the references in various travelogues, I feel comfortable, dating my collection from the latter part of the 19th century to early twentieth century.