Yashvi Bhat
bhatjitender@gmail.com
Travelling through the by-lanes of Kashmir’s Safa Kadal, Fateh Kadal, and Noor Bagh, one comes across clusters of workshops where artisans sit with chisels and hammers, shaping walnut wood into intricate wooden carvings, furniture, jewellery boxes, and ornate panels. Situated in these lanes are karkhanas(workshops) of skilled craftsmen whose families have practiced walnut wood carving for generations. Yet, even as their craft travels the world, the names of those who shape it remain forgotten – a silence that Europe happily benefits from, and one that our own indifference continues to permit.
Dolce and Gabbana, an Italian luxury brand recently launched its new ‘Trevi Bag’ collection featuring intricate Kashmiri wood carving on their bags priced at INR 20 lakhs. While the brand gives due acclaim and recognition to Fontana di Trevi, an 18th century marvel of Rome, there is absolutely no credit whatsoever for the Kashmiri wood carving that adorns the other half of the bag. This speaks volumes of European indifference to India’s culture and craft. While they love to capitalize on all things Indian, their Eurocentric wisdom fails to give credit to the real artists.
Walnut wood carving, an art Kashmir has practiced for centuries, was introduced in the valley by Sheikh Hamza Makhdoom under the rule of Zain Ul Abidin in the 15th century (Maliyar & Darzi). The workers who were brought from Persia, settled in different parts of the valley and popularized the art in the valley. The exquisite carving and the intricate designs are a work of sheer mastery, which have found space not only in adorning furniture like doors, windows, cabinets and chairs but also in some of the most beautiful architectural structures such as the Naqshband Sahib Mosque in Srinagar.
The art is unique to Kashmir and received a GI tag by the Indian Government in 2012. While initially patronised by royalty, it gradually became a part of local life- shaping houseboats, adorning homes and crafting doors, windows, chairs, cabinets and mirror frames. As of 2024, there are more than 3000 artisans in the city of Srinagar alone and others are spread across the valley. Growing at an elevation of 5500-7500 feet above sea level, the Kashmiri walnut wood is strong and ideal for carving. Locally known as ‘Doon Kaem’ (walnut wood work), the craft requires patience and skill. The carvings include motifs such as Gul Tarah(flowers), Raiz Kari (floral intricacy), Dhar(landscapes) and Boon Tarah (chinar leaves). The styles of carving are many, the prominent ones being Pinjra (latticework), Sadikaam (shallow carving), Padri (semi-carving) and Khokherdar(undercut work).
Given the exquisite beauty of the designs, the products of Kashmiri walnut wood carving have the potential to grow manifold. While there is demand for the same from Europe and the Middle East, there are many roadblocks that artisans face. It is important to address the lack of recognition to the Kashmiri artisans as well as negligence on the part of government to protect the interests of artisans who have practised and preserved this heritage for centuries. The GI Tag is a globally recognised intellectual property right under the World Trade Organization’s TRIPS agreement and applies to all WTO members. It is an obligation on the government to ensure artisans’ intellectual property is safeguarded and appropriate steps are necessitated in case of any violation.
Prada, another luxury brand that copied the famous Kohlapuri chappals without giving any credit to the local artisans of Maharashtra, had to admit that their sandals were inspired by Kohlapuri chappals, after facing extreme backlash for ‘cultural theft’. Apart from acknowledgement, teams from the brand were sent to Maharashtra after rounds of discussion with the Maharashtra Chamber of Commerce, to work on a special Kohlapuri-inspired line, co-created with Indian artisans to ensure proper attribution. This is a testament to the importance government and administrative support holds in protecting the artisans’ rights.
There is no doubt that the art holds immense potential to expand commercially but lacks patronage. Due to weak government support, both at the state and central level, this art along with many others is dying in Kashmir. Families are abandoning the art as it fails to provide sustainable livelihoods.
As India envisions ‘Viksit Bharat by 2047’, driven by initiatives like Mera Yuva Bharat, incentivizing the youth to continue these artforms is necessary. There is a need to rethink our policy decisions to ensure artisans have access to domestic and international market. Budgetary allocations must not be an eyewash, but substantive enough to create a moving impact. Financial inclusion through digitization, access to banking facilities and easier access to loans is necessary. Training and Capacity building centres must be brought into action. Redundant training techniques need to be replaced with those that generate value. Government schemes like PM Vishwakarma, Kharkandar Scheme need deeper penetration to realise the noble aspirations for which they were formalized.
India’s strength as an emerging global power rests hugely on its cultural diplomacy. It has drawn strength from its culture and art as much as from its economy. Jammu and Kashmir alone has received GI tags for eight of its traditional crafts including the Pashmina Shawl, Kani Shawl, Paper-mâché and hand-knotted carpets. If tapped well, this sector can generate employment, strengthen the local economy and boost India’s global standing.
Kashmir’s walnut wood carving is more than craft; it is history, heritage, and identity. Yet, while Europe profits from its beauty, our silence allows the injustice to persist. We must begin by valuing and protecting our artisans. Until then, our ignorance will remain Europe’s bliss, and our heritage will travel the world adorned on luxury shelves, yet leave the true creators unrewarded.
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