Shireen Naman
Spanned over decades long existence in Kashmir homes , shrines and other structures , the elegant art of Khatamband work is not only captivating to eyes but also has an interesting history of origin
There are different theories and stories associated with the arrival of the art of Khatamband in Kashmir valley .
Many people say that Mirza Hyder Tughlaq brought the art of Kahatamband to Kashmir valley in 1541 in Mughal era while some believe that famous saint Shah Hamadan (RA) introduced the art in kashmir when he visited the Himalayan valley along with many followers. These also included Khatambandh artists from Persia who were brought to Kashmir during the 14th century.
The shrine of Shah Hamadan (RA) in Srinagar has the most complex Khatamband work done which is in the form of a crossed dome. This art form came to Kashmir from Iran, with the Sufi saint Shah-e-Hamadan or Mir Syed Ali Hamadani in the fourteenth century.
In Kashmir, a ceiling decorated with khatamband woodwork is considered the hallmark of luxury.
Khātam is an ancient Persian technique of inlaying. It is a version of marquetry where art forms are made by decorating the surface of wooden articles with delicate pieces of wood, bone and metal precisely-cut intricate geometric patterns. Khatam-kari or khatam-bandi refers to the art of crafting a khatam. Common materials used in the construction of inlaid articles are gold, silver, brass, aluminum and twisted wire.
THE PROCESS OF MAKING
Khatamband is an ancient craft of creating patterned designs that fit together to create false ceilings. There are basically two elements, which make Khatamband; one is the beading that is called Gaj-Patti and second is the polygon called Posh (Flower). Gaj Patti is subdivided into two types – Charat for longer one and Posh for shorter ones.
All this is done entirely with hands without the use of glue or nails. Nails are only used at crucial points to anchor the interlocked grid to the base-wood of the ceiling. It is used as a false ceiling for its functional and decorative needs.
The uniqueness of this art is that when the ceiling is complete, it acquires a unique seamless geometrical pattern.
When a person stares at Khatamband ceilings, the shapes morph into each other creating an illusion, transforming the seamless clinging to a dynamic installation, like a starry sky.
The fir wood, which is very light as compared to other hardwoods, is used in making Khatamband. Their lightweights make it ideal, as it does not bulge down with its own weight and stays in place with fewer or no nails used at all depending on the design. Fir is a conifer and is most closely related to the cedars (Cedrus). Fir is found abundant in the mountains of Himalayas and around the mountain ranges of Kashmir valley. Deodar (Pine) and Walnut wood is also used for making Khatamband if needed.
The wood is processed, cut into batons and panels and then fixed onto the ceiling in various preconceived geometric patterns. It is a painstaking work, which once used to take months to finish a 10 feet ceiling. Khatamband art designs are of several types which include BeetDar ,Mouje Lehar, Has Pohal ,Dawazdha Girid, Chengis Kani, Chaar Baksh ,Hastubal, Pohal Muraba, Murabba Badam etc.
Kashmir for centuries has been associated with rich art and culture but for decades has been arrested in a steep decline of this legacy. The artists associated with handicraft are the poorest of the communities of the society. Artisans associated with the Khatamband craft are getting wages of 500 to 600 after a tedious labour of 14 hrs a day.
According to the Khatamband artists union,the govt provides them a firwood quota of around 3000 quintals for one year, which gets consumed in three months.
Forest department provides them firwood for Rs 425 per feet, they get the same from market at Rs 800. They demand that the wood should be provided at reasonable rates for the full year.
Like many other crafts, Khatamband has suffered due to it being unorganized, with the additional constraints of lack of education, low capital, poor exposure to new technologies, absence of market intelligence, and poor institutional framework. The state has to work on many fronts to revive this age old craft in Kashmir
