A glimpse into history
Sculpting wood into fine pieces of art is representative of Kashmir's local tradition of carving which has evolved over centuries. The earliest source mentioning Kashmir walnut wood carving is the Gazetteer of Kashmir which was published in 1890. The craft gained popularity due to the realistic rendering of flowers and motifs in wood. The ornate designs of the wood carvings featured Punjabi and Islamic influences and were used in panelling, cabinet making, etc.
Today, an estimated 600 artisans in Srinagar city are involved in manufacturing Kashmir Walnut Wood Carving products, specifically in the locality of Fateh Kadal. Walnut wood’s qualities of being hard, compact, durable yet light with a close grain and even texture makes it ideal for fine, detailed carving. The colour and sheen of walnut wood also makes it desirable to Kashmiri carvers, locally known as Naqashs. The carving of wood by hand is undertaken via a variety of techniques such as Khokerdar (undercutting), Vaboraveth (raised carving), Padri (engraving), Jallidhar or Shabokdhar (open or lattice work), Dagakil (texture with nails) and Sadikaam (shallow or plain carving) styles. In 2012, this splendid craft was granted the Geographical Indications (GI) tag by the Government of India.
Crafted with love and passion
Kashmiri Walnut Wood Carving features embellishments depicting traditional designs and motifs inspired by nature. The carving process is known as dhun hath kaem (walnut wood work) or simply as dhoon kaem (walnut work). Some traditional designs utilised include Gul Tarah (flower motifs of rose, iris, daffodil, jasmine, lotus and sunflower), Mavi Dahar (fruit bearing tree motifs of apple, pear, walnut), Dach Tarah (grape), Badam Tarah (almond), Bhoni Tarah (chinar), Janavar ti Jandhar Tarah (animal and birds motif of bulbul, parrot, dove, pigeon, fish, lion, deer, rabbit, horse, snake etc.), Jungle Tarah (jungle scenes), Scenery Dhar (landscapes), Harfi Dhar (Arabic, Persian and Kashmiri verses), Taveez Dhar (Quranic verses), Hashiyi Dhar (border motifs) and Raiz Kari (intricate floral work).
Artisans painstakingly fashion out rich designs into the walnut wood using hand tools, such as chisels, scales, gouges, and saws. The first stage of wood carving is Dagun which involves broadly delineating the basic motif from the surrounding surface. Next comes Zamin Kadun wherein the wood around the motif is carved out. In the stage of Guzar border outline of motifs is undertaken. Towards the end Kanjiwar and Guzar Safai the edges are rounded to the required shape. Before polishing, the wood is coloured in dark red, yellow, deep maroon, black or brown.
