Kashmiri Papier Mache

The word Papier Mache, a French word that means 'chewed paper' is perhaps not a misnomer for this Kashmiri art form. It is true that most of the articles of Kashmiri Papier Mache were traditionally made of mashed paper pulp - and to that extent, the definition holds true. BUT, in Kashmiri Papier Mache, making the article is an important but only the first step. It is the steps that follow, that give Kashmiri Papier Mache, it's unique beaty. These include getting the article smoothed and ready for the first coat of base color,  painting the pattern, in color, detailing and shading the pattern finally covering it with several coats of lacquer. It is also not correct to assume that all Kashmiri Papier Mache was made of paper pulp. From the earliest times,  non-decorative and utilitarian articles like tables, picture frames, fireplace screens, privacy screens etc. were made of local wood, typically pine. 

The Kashmiri word for Papier Mache is Naqqashi, which is borrowed from Farsi and simply means painting/drawing. Not surprising that the name was inherited from Farsi because the this art form, as we know it today, came to Kashmir from Iran/Central Asia. It worth noting though, that despite it's roots in Iran, the Kashmiri Papier Mache has it's own distinct style and can be easily distinguished from its Iranian ancestor - a feature that is common across all traditional art forms of Kashmir. Regardless of where the craft originated, when placed in the hands of the Kashmiri artists, they left their own, distinct mark on it - an unmistakable reflection of their sense of their distinct identity. 

The most common motifs in traditional Kashmiri Papier Mache are somewhat naturalistic local flora and fauna with the Chinar (Plantanus Orientalis) leaves as a prominent pattern and the classic shawl pattern, equally popular, especially in the examples from the 19th century. Another popular motif in Kashmiri Papier Mache is a figural motif that typically depicts loosely based scenes from the Mughal or Persian courts (Durbar), hunting, scenes and battle scenes. None of these are accurate representations of any events, much though it makes for good marketing and "exotic stories". Rather, these are copies from some manuscript that are then repeated and changed over time. 

My collection has also revealed, for the first time, that the figural motifs  Kashmiri Papier Mache that depict Hindu deities and scenes from, what appear to be Hindu manuscripts. This was a revelation since most of the figural motifs were always thoughts to be 'Mughal', for the lack of a better definition. 

One key feature of Kashmiri Papier Mache used to be the use of 22 karat gold paint where the artist would pick gold leaves with a fine brush, add a very small amount of local glue and use it as paint or where needed, apply the gold leaf directly on a pattern. This is unmistakably visible in my collection. Sadly, this practice has long been replaced with synthetic gold paint. 

Based on the scant references to Papier Mache in travelogues, by mostly English travelers, the earliest pieces in my collection, which would be the pen cases, date to the first quarter of the 19th century and based on other research and the occasional provenance, some of the pieces can be dated to the mid to late 1900s.  Some of the pieces in my collection, part of which comes from my own father's store, date from the 1940s to the 1960s