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CONTENTS

S.NO TOPIC PAGE NO1 List of abbreviations 32 Clusters: need and competitiveness 53 Cluster initiatives 94 Conceptual framework 125 Aims of the present study 146 Cluster snapshot 187 Methodology of the present study 248 Khatamband:characteristics,uniqueness, uses 309 Khatamband: geographical location 3510 Khatamband:socio cultural significance 3910 Khatamband: list of practitioners 5012 Khatamband: proof with historical context 5113 Khatamband: designs and motifs 7914 Khatamband: production process 9715 Khatamband:raw materials and their properties 12616 Khatamband:tools 13617 Khatamband:costing,its analysis and interpretations 13918 Khatamband:scope and target market 14719 Issues related to khatamband artisans 15120 Traders and their issues 15821 BDS providers 16522 Issues related to BDS providers 18823 Swot analysis 20624 Suggested interventions 20825 bibliography 211

Diagnostic study on khatamband clusterPage 1

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List of abbreviations

1. Msme: micro, small and medium enterprise

2. DC (H): development commissioner handicrafts

3. MOT:ministry of textiles

4. CDI: craft development institute

5. CFC: common facilitation centre

6. BDS: business development service

7. FCIK: federation chamber of industries Kashmir

8. KSSIA: Kashmir small scale industries association

9: KCCI: Kashmir chamber of commerce and industries

10: PDD:power development department

11:DIC:district industrial centre

12: jksicop: jammu and Kashmir small scale industries development corporation


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13:jksidco:jammu and Kashmir state industrial development corporation

14: PNB: Punjab national bank

15:SFC:state forest corporation

Clusters :development and competitiveness

Clusters


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Cluster, the result of improvements in the business environment, "is a geographically proximate commonalities and complementarities" As the sum of its parts is of greater value than each individual company or institution, clusters create synergy.

Advantages of Clusters

Clusters improve competitiveness (which results in improved productivity) in three ways;

1. Improve productivity through improved access to specialized suppliers, skills and information.

2. Innovation is given more importance as the need for improvement in processes of production is highlighted. And firms working together can satisfy this need.

3. Once established, clusters will grow as a result of the creation of new firms and the entrance of new suppliers.

Clusters are geographic concentrations of interconnected companies, specialized suppliers, service providers, and associated institutions in a particular field that are present in a nation or region. Clusters arise because they increase the productivity with which companies can compete. The development and upgrading of clusters is an important agenda for governments, companies, and other institutions. Cluster development initiatives are an important new direction in economic policy, building on earlier efforts in macroeconomic stabilization, privatization, and market opening, and reducing the costs of doing business....

Development experience from around the world has shown that the determinants of competitiveness are many and complex. The arguments for investment in physical capital and infrastructure have been long present. Neoclassical economists, then, emphasized getting the macro fundamentals right so resources flow into the right sectors, and within those sectors, the right firms. Further, economists looked at other issues: human and social capital, technological progress and innovation, business enabling environments, firm sophistication and demand conditions, product and market diversification, etc. Academics and practitioners have now generally come to agree that many of these issues are not mutually exclusive but jointly supportive


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An industrial cluster is an agglomeration of companies, suppliers, service providers, and associated institutions in a particular field. Often included are financial providers, educational institutions, and various levels of government. These entities are linked by externalities and complementarities of different types and are usually located near each other. (See Figure 1) Because of their proximity—by geography and activities—cluster constituents enjoy the economic benefits of several location-specific externalities sand synergies. Such benefits include access to specialized human resources and suppliers, knowledge spillovers, pressure for higher performance in head-to-head competition, etc. Moreover, through these linkages, one cluster is inevitably linked with others and to the overall economy.

Efforts that include policy reform, trade capacity building, private-public dialogue, regional economic development, workforce development, etc. At times, they become a catalyst, generating broad

public understanding and support for the economic reform agenda by working with the media, universities and think tanks, knowledge and technology foundations, industry leaders, government officials, etc.

When designed carefully and implemented efficiently, cluster initiatives may well be one of the most effective tools in a broader context of policy reform and other private sector development initiatives.

The concept of economy-wide competitiveness has brought forward the relevance of a cluster approach. Competitiveness is a proxy for the productivity of an economy and depends on the value of a nation’s products and services, measured by the prices they command inClusters are agglomerations of diverse actors. They can be catalysts to policy reforms andprivate sector development. However, excellence in productivity is not something firms can acquire in isolation; they need to work with surrounding institutions and agents whose undertakings have large impacts on how firms operate. Industrial clusters can increase productivity and operational efficiency through linkages, spillovers, and synergies across firms and associated institutions and through efficient access to public goods, better coordination,and the diffusion of best practices. Clusters can contribute to the foundation of knowledge and help stimulate technological innovation, as is seen in the IT clusters in Silicon Valley and Bangalore. They may also spur creative innovation, as in the fashion designing clusters in Paris and Mumbai. Clusters can facilitate commercialization and new business formation through spinoffs through exploitations of linkages, partnership and startups. One cluster often seeds or enhances other clusters as it disperses activities in the value chain to reduce risk, access cheaper inputs, or better serve particular regional markets. A good example of such a domino effect is the optics cluster in Arizona, which gave rise to clusters in plastics, aerospace, environment technologies, information technologies and biosciences.

Clusters whose activities span regional or national boundaries differ from those that operate within a nation. The McKinsey Global Institute estimates more than70 per cent of developing country exports are concentrated in six industries: agribusiness, mining, light manufacturing, tourism, information and communications technology, and retail distribution. Clusters based on these industries are emphasized


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throughout this tool kit, although it will try to differentiate export industry clusters from those serving the local market. A study by the Institute for Strategy and Competitiveness, Harvard Business School,

shows that locational patterns of export-oriented clusters are likely to reflect the underlying forces of linkages rather than economic geography. On the other hand, local industries are present at roughly the

same density throughout economy, showing they serve local markets and are not exposed to direct competition across regions. They may account for higher employment but lower wages, productivity, and

rates of innovation than the economy on average. In contrast, export oriented clusters are concentrated geographically because industries in this category can choose where to locate and serve markets beyond

the border. Such clusters account for relatively smaller employment but register above average wages, productivity, and innovation.(Porter, 2003)

Cluster Initiatives

Industrial clusters often evolve spontaneously over decades. However, well-designed cluster initiatives can expedite the process and provide a much-needed initial platform on which to grow in output and sophistication. Such initiatives should draw from and feed into the spillovers influencing economic performance within and across clusters.

A cluster initiative offers a comprehensive assessment of a cluster’s markets, products, linkages, externalities, and synergies to help identify regulatory and business constraints, tap new and wider market opportunities, and develop sound business strategies to tackle its main competitors. Strategic initiatives vary by country and cluster, but often focus on improving market information, workforce development, supply chain improvements, quality standards, branding, forward integration, and process improvements.

A cluster-based approach is a realistic way to identify the policy and institutional impediments to competitiveness and can be an effective vehicle for catalyzing reform. Through dialogues at the cluster level.


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cluster development: feasibility, viability and a catalyst for growth and economic competitiveness

Governments and institutions have traditionally always focused on the importance of the role played by fiscal and monetary policies in the competitiveness of a region in spite of the fact that it is microeconomic policy that creates prosperity in a region.

A solid macroeconomic policy only paves the way for productivity, it does not improve it. This first diagram demonstrates how, through the application of micro economic policies, productivity can be improved.

The theory progresses with the introduction of innovation and the importance it has within an industry. The diagram depicts how the level of productivity of a region is mirrored in that regions standard of living, where a steady growth is required to maintain a high standard. In advanced regions, prosperity is influenced by a continuous rate of innovation.

Prosperity in a region is created by the microeconomic foundations of competitiveness, which is based in the sophistication of its companies and industries. However, as the business environment within which the firms operate determines this sophistication, it follows therefore that the focus must be on improving the quality of a regions business environment.

The quality of a region´s business environment is embodied in four broad attributes that affect both current productivity and innovative capacity. Michael E. Porter created the diamond in order to present these four attributes.


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Conceptual framework

There are many ways to explain a conceptual framework. It can be any or all of the following:

• A set of coherent ideas or concepts organized in a manner that makes them

Easy to communicate to others.

• An organized way of thinking about how and why a project takes place,

and about how we understand its activities.

• The basis for thinking about what we do and about what it means, influenced

by the ideas and research of others.

• An overview of ideas and practices that shape the way work is done

in a project.

• A set of assumptions, values, and definitions under which we all work together.

Why do we need a framework when doing research?

A framework can help us to explain why we are doing a project in particular way. It can also help us to understand and use the ideas of others who have done similar things.


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We can use a framework like a travel map. We can read a map, because others before us have come up with common symbols to mark streets, lakes, highways, cities, mountains, rivers, etc...The scale on a map tells us how far one place is from another. Or, there may be paths that have never been explored. With a conceptual framework, we can explain why we would try this or that path, based on the experiences of others, and on what we ourselves would like to explore or discover.

A framework can help us decide and explain the route we are taking: why would we use certain methods and not others to get to a certain point. People might have tried a similar path before and have had different experiences using one road versus the other.

Porter’s Framework on Competitiveness

Professor Michael Porter’s framework on competitiveness lies at the heart of an offers an excellent framework through which to identify and sort the diverse issues relating to competitiveness. He sets out guidelines to maximize the success of cluster-based analyses and evaluates the rationale for cluster initiatives. Specifically, the Porter Diamond measures competitiveness in terms of four interrelated areas of: (i) the quality of factor conditions (ii) the context for firm strategy and rivalry, (iii) the quality of local demand conditions, and (iv) the presence of related and supporting industries.

Professor Porter has emphasized that improving a clusters’ competitiveness depends on the pace at which firms within the cluster shift from competing on basic and inherited endowments to competing on advantages arising from efficient and distinctive processes and products that contain as much added value as possible. Within firms, such a shift will require innovation of products, processes, and markets ,adaptation of new technologies, and new partnerships among productive forces, such as workers, suppliers, service providers, and buyers.Beyond firms, the shift will require parallel changes in the surrounding microeconomic business environment, which will depend on the mobilization of private and public sector actors and institutions. The business environment is well depicted in the Porter Diamond as a complex interplay among the forces of factor and demand conditions, the context for firm strategy and rivalry, and supporting institutions and industries.


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The present diagnostic study

the present diagnostic study aims at studying the khatamband cluster(eid gah) as a whole i.e at the artisan level, unit holder level and along with the various bds providers associated with this trade.the issues related at each level and the suggested intervention strategies and techniques would also be addressed.

Thus the Diognostic Study Report would bring forward and study the following issues in order to diagnose the the problems associated with the eidgah khatamband cluster:

01. Basic information about the cluster : exact location, age of the cluster, cluster product (traditional artisanal or traditional industrial or modern/ high tech product), number of micro and small units separately mentioning average investment in plant and machinery, employment, level of technology, turnover, exports, institutional supports available in the cluster

02. Technology up-gradation, Credit Institutional Capacity Building, etc.


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03.In detail need analysis in respect of each intervention area viz. Marketing, Technical up-gradation, Institutional Capacity Building, Quality Improvement.

04. Remedial measures to be followed for each analzsed need corresponding to the intervention area appropriate for respective cluster, if any, in an appropriate time frame.

05.The study would also give comparative benefit between two stages i.e. before and after implementation of the proposed measures. It would quantify the benefits in monetory terms, percentage, numbers, employment, exports, turnover, etc.

06.The study also includes a detailed Action Plan including budgetary provision for entire project duration separately for development of the clusters, showing clearly the contribution for Cluster Actor/ association/ other stake holder which in any case will not be less than 10% of the proposed project cost.

07.A need for a cfc(common facilitation centre) in the cluster has also been suggested in the report.

Khatamband is concentrated mainly in the idd gah area of district Srinagar in the state of jammu and Kashmir...the constituent areas include rathpora,ganderpora,laigari duri,kantparistan, etc .

History of the cluster

The cluster has a history dating back to around 130 years..


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Cluster snapshot

The snapshot of the cluster is as follows

Exact location of the cluster(eid gah)

Latitude:34.09

Longitude:74.79

Spread of the cluster 5-7 kmAge of the cluster 190 yearsArea Number of unit holdersSafakadal 7Dana mazar 5Gander pora 13Hafta yarbal 2Char-i-namal 5Kat-e-paristan 4Laigari dura 3Eid gah 4New Colony Rathpora 10Lal bazaar 3Bilal colony soura 2Rainawary 3Khanyar 2Maidan pora 1


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Narwara 1Qamarwari 1Chattabal 1Nawa kadal 3Chan mohalla, Rainawari(carving) 20Noor bagh waniyaar (shaheen Mohallah) 3Hamdaniya Colony Sector A bemina 5

Cluster products:

False ceiling:80%

Doors,walls and other related products:20%

PARAMETERS DESCRIPTION

Total Units (Nos.)

Registered

Unregistered

76 (Self Help Group AKCCU) 27 (DIC)

124

AVERAGE Employment (Nos.) 530(Registered artisans)


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Direct Indirect 5 per unit

3 per unit

Consumption of wood 150sqft/month/head

Average Investments(rs)

Machines Raw material

2lakh per unit 34,80,000lakh annually (13,50,000

subsidised & 34,80,000 subsidised )

Estimated turnoverPer unit/year

Estimated turnover of the industry

18,61,500rs

37, 23,00,000rs Product Mix

Major Minor

Ceilings, Doors and Walls (panelling)

Major Stakeholders Raw material suppliers, Job Workers, Manufacturing Firms, State and Central Government,

Raw Material Providers State Forestry department,


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State Forest Corporation, Menzurs (private raw material

suppliers)

Major BDS Providers CDI, J&K ARTS EMPORIUM, J&K Handicrafts, Power Development Department

(PDD), District Industrial Centre (DIC), SIDCO, J&K Small scale Industries

Development Corporation Limited (SICOP) KSSIA(Kashmir Small scale

Industries Associations) FCIK( Federation Chamber of

Industries Kashmir) Punjab national bank(pnb) Jammu and Kashmir bank(jkb) Canara bank


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Methodology for Diagnostic Study:

The field study included visits to the craft units, extended interaction with artisans, people involved in its trade, as well as visits to retail shops, residences, many old mohallas of Srinagar and numerous public buildings. We also had discussions with officials and people associated to the craft industry to clarify issues related to raw material, quality and certification and production value.

The information regarding materials, tools and techniques used in different stages of production and the detailed process, joineries, design variety and quality aspects about the craft manufactures were compiled after first hand observation at the craft units spread over 6 weeks.

The secondary sources include books, journals, reports and websites on the specific subject as well as related subject areas. It is important to mention here that all three craft manufactures in question been only fleetingly mentioned in the published literature on crafts of Kashmir; this may be because Khatamband, Pinjra and Namda, towards the 20th century, were considered functional vernacular crafts and relatively less important than courtly crafts like Pashmina and the shawl embroideries. One has had to rely on supporting references related to political, cultural history, architecture and primary sources for history and origin of the crafts. The web search for international information on this subject proved to be useful and provided further clarifications. Some relevant documents have been provided as annexuresLastly, visits to the local museums, private and public buildings, architectural monuments in and around Srinagar not only built us a huge resource


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of designs and existing examples but helped to clarify and substantiate information collected from the primary sourceThe report is based on the information & data gathered from various industries, associations, institutions, periodicals & literature on the subject matter. For this, various meeting, interactions & interviews were held with the concerned identified cluster actors.

As far as our cluster study is concerned we follow the following methodology:-

a) Collection of secondary data.

b) Collection of primary data.

c) Data processing and analysis.

d) Preparation of study report.

COLLECTION OF SECONDARY DATA:-

Secondary data was collected by reports, projects and research documents on Khatamband published by C.D.I. Data was also collected from related sites like J&K government arts emporium, Indian crafts, kashmirnews, shahtoor Khatamband industries, EMMRC Kashmir University, Iranian art, Wikipedia, Google book etc.

COLLECTION OF PRIMARY DATA:-

Primary data was collected by adopting a three pronged strategy given as below:

I) Framing of Questionnaire:- First of all we frame a questionnaire by taking into the consideration the following things:- Profile of the Unit/Artisan (Registered/ not registered) Location Products developed Designs used (Traditional/ Contemporary)


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Production process with various stages & Issues related to each stage Production Scale & Capacity Raw Materials Used and their Availability Tools used, their Relevance & Availability Income and Turnover Investment & source of Finance Costing & Pricing of the Product Immediate Market Services Availed from Various Agencies (if any) Awareness about the various Handicraft related Schemes Time since practicing the craft Number of such units in a Cluster

II) Through Interviews:-we also followed the interview process; we meet more than 30 unit holders. Information was sought regarding the problems faced by local Artisans, and information on various aspects relevant to cluster growth was collected through detailed interaction and discussions.

III) Through Group Discussions:-We also discuss the problems of local Artisans with Unit holders/ Manufacturers/pure artisans and try to find a way to overcome with those problems by soughing out where the problem actually raises and what will be the solution through focused group discussion.

Khatamband:

The word khatam is an Arabic word,meaning “patch” and band is a persiian word meaning “lock”.this combination of Arabic and Persian words is the most accurate translation of the word “Khatamband” literally meaning _locking the patches.Band or Bandi is a common term used in “pacher bandi” or “taksha bandi” in Kashmir,wherever the reference is to “fit”…

The other local definition of the term “Khatamband” is that it it is a Persian word and its meaning is related to the


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method of the craft .khat is drawing of lines and “band” is a scale ,pronounced as Khatamband.The band or scale refers to the most essential “kannat” or master ruler which has all the markings needed to make that particular pattern.According to this definition,the literal meaning would be “drawing lines from the kannat’’…

Both these definitions capture the two most crucial operations,one at the start and the other at the end of the process of producing Khatamband that renders it unique..Both these operations continue to be made entirely by hand even today.

Characteristics and Uniqueness:

1.A woodwork ,unique to Kashmir and does not Kashmir and does not exist any were else in India

2. designs repeat a geometrical pattern with a definite mathematical foundation.

3.Held by joints and not nails or glue.

4.The final product is dismantable and reusable.

5.Lasts for more than 100 years with very little maintenance and repair

Human skill is of great significance throughout the various steps involved in the making of “Khatamband”.the making of Khatamband requires trained human skill with an average learning period of 6 to 8 years..


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The geographical environment signified with the ambient temperature and the water contribute significantly to the quality of wood and its seasoning…

Good quality Khatamband work is recognized by the raw material as well as the way it is made.

The wood used should be without any knots and in grown barks. The dil pieces should be flat and not warped. The thickness of the sar used in the borders should be equal on all the sides. The guz lap and bridle joints should be exactly fitted without gaps. The guz should coincide perfectly with the next guz at the miter joints. The guz should run in straight parallel lines in the design without crookedness. All the components should be finished to form a smooth surface. The panel should not need planning after assembling

All the dil and guz in a panel should be of same colour

Use

Khatamband is an inseparable part of the culture and architectural identity of the Kashmir region and wall panels and ceilings exists here dating

from the early 16th century.

The old Khatamband found in mosques and Khanqahs are richly decorated with fine naquashi work in traditional Kashmiri motifs and even gold

embellishments. The shrines of khanqak I Moulla, Dastagir Sahib and Naqshbandi have the finest examples of such Khatamband work in

Kashmir. (Many more details in section on Historical proof of origin).


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It became well known as an artistic ceiling technique during the later 19th century when European travelers visited Kashmir and started writing

travel descriptions of the land, its people, culture and its arts. They found it unique to Kashmir that did not exist anywhere else in India. From

this literature, it is evident that houses, public buildings and monuments in Kashmir had extensive traditional woodcrafts and khatamband was

one of them. In fact, some British residents promoted its use in colonial residences and even exported some to England.

During the later part of the 19th century, the houseboat owners gave a further impetus to this craft industry by furnishing all houseboats with

extensive Kashmir woodwork. Khatamband designs are used for making windows in combination with other materials like glass, mica. This is

called mullion work especially found in early 20th century buildings when glass became commonly available. Today, Khatamband is again being

used as a decorative paneling for walls, tabletops and usually has some value addition of hand carved motifs.

KHATAMBAND AND GI


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WHAT IS A GEOGRAPHICAL INDICATION?

It is an indication which originates from a definite geographical territory. It is used to identify agricultural, natural or manufactured goods. The goods should be produced or processed or prepared in the area and should have a special quality or reputation or other characteristics.

Khatamband was recently granted G.I geographical indication registery,government of india under application number-204 (journal number 41 dated 11 august 2011.


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Geographical Location of Practice/ production

The Geographical Location for Khatamband Production is District Srinagar and particularly areas of Safa-kadel, Idgah, tehsil Srinagar south,

block Srinagar and assembly constituency of Idgah where there are presently around 150 artisan families practicing Khatamband for around 100

yrs now. The latitudes given are Srinagar, 34. 09ᵒN, 74.79ᵒE

The raw material that is generally used to make Khatamband ceilings or panels is wood of either silver fir (Budloo) or Himalayan blue

pine (Kayur) and Deodar (deodar) or walnut (Doon) all of which grow in the Kashmir valley at various altitudes, mainly in District

Anantnag1 33.73ᵒN,75.15ᵒE and District Kupwara 34ᵒ 02’ N, 74ᵒ 16’ E.

The map annexure is attached to indicate the location of Khatamband production and the areas where the raw material for Khatamband

production comes from in the present times.

The capital city of Kashmir or Shehr-I- Kashmir or Srinagar stands out as the most visible physical manifestation of the turbulent history of the

region. The city is said to have been founded by Emperor Ashoka in the year 250 B.C near Panderethan, some three miles south east of the

present day city. The name Srinagar is alternatively translated as Sri Nagar, “City of Sri “an appellation of the Hindu goddess Lakshmi or more

simply as Shree Nagar, “The city”2.

1 133, Koshur Encyclopedia, Jammu & Kashmir academy of Art, Culture & languages, 19972 report, Cultural Resource Mapping of Srinagar, Kashmir, INTACH, Srinagar


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In the 6thcentury A.D, king Paravasena II founded the new city of Parvarapura around the hillock of Hari parbat in present day Srinagar. The city

is said to have contained 36 lakh well- built wooden house connected by numerous water canals linking with the Jhelum and regularly arranged

markets.

The transfer of power from Hindu to Muslim rule in the early 14th century gave a further impetus to the development of Srinagar both physically

as well as culturally. From hence forth up till the introduction of Sikh rule in the 19th Century, Srinagar would be simply called Shehr-i-Kashmir,

‘The city of Kashmir’, an obvious acknowledgement of its pre-eminence as the political and cultural centre of the region.

Barring Sultan Zain-ul-Abidin’s 15th century extensions of Nau-Shehar, Parvarapura remains the only development of the city in an area to the

north of Hari Parbat, for up till late 19th century the development of the city would remain limited to Hari Parbat.

The selection of Srinagar as the site for a capital city is reflective of both the strategic advantage it provided and the ease of communication

which linked its various wards internally as well, with the rest of Kashmir. Located mostly on the right bank of Jhelum, the development of the

city was governed by the natural physical barriers of the site. The river Jhelum and Anchar Lake acted as the natural limiting barriers on the

north and western side, while the Dal Lake curtailed any development on the eastern fringe. The Hariparbat and Takht-I-Sulaiman hillocks

served as both a limiting barrier as well as a natural landmark of the city. Thus, up till early 20th century, the Gojwara-Iddgah-Chattabal corridor

in the north and Maisuma-Shergari corridor in the south marked the actual physical limits of the city on the ground on its two opposite ends.

Like in many other medieval cities, religion and occupation stand out as the most important determinants of the settlement pattern in Srinagar.

Most of the traditional residential quarters in the city evolved around major khanqahs, shrines or temples. The evolving nucleus of a city pattern

in the 14th century revolved principally around the khanqahs of Bul Bul & Shah Hamdan, at Richenpora (Bul Bul Lanker) and Alauddin pora

(khanqah-i-Maulla). The Bulbul Lanker, said to be first mosque in Kashmir, is a small wooden building on the right bank of the Jhelum below

the fourth bridge, Hailikadal and the Shah Hamadan Masjid or the Khanqah I Maulla is situated on the right bank of the Jhelum just under the


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third bridge, Fattehkadal. The Ali Masjid, situated at the northend of Idgah, was built in the time of Sultan Hassaiu Badshah, by Kaji Husti,

Sonar in 1471 A.D and is said to be another old mosque in the city with four rows of polygonal wooden pillars.

As the city developed, mohallas and residential quarters also started getting organized around occupational lines. As more members of the same

family became associated with a similar profession, the mohallas also developed as a close knit community linked by both family as well as

occupation. This trend was well developed and established by the 19 th Century. Thus Sheshgari mohalla, Qalamdanpora, Thanther mohalla,

Rangher mohalla, Boher Kadal, Bundhuk Khar mohalla, which clearly link specific areas with certain specific traders.

Socio- cultural significance of the practice

As discussed in the proof of origin and historical references, wooden arts in general and Khatamband in particular, was warmly welcomed in

village Gu’r, a village off the road in Tral, a town situated on the right side of the river Jhelum between Anantnag and Bijbehara3. The

Khatamband craftsmen practiced their craft from this region during the 14th century and slowly started seasonally shifting towards Srinagar when

the capital city of Kashmir shifted towards the north during Sultan Zain ul Abdin’s time4.

Jhelum, the chief river of Kashmir, flows gently through the centre of Srinagar city with seven bridges, called kadal in Kashmiri, in the heart of

city. Amirakadal being the first, followed by Hubbakadal, Fattehkadal, Zainakadal, Hailikadal, Nayakadal and finally the Safakadal were all

built during the Muslim rule. The first permanent bridge at Alaudinpura known as Zaina Kadal was built by Zain ul Abdin in the 15th century and

since then, the city continued on both the banks, though the right bank would continue to outgrow its other half. A stone slab in the ziarat of

3 Gu’r village, Gazateer of Jammu & Kashmir, Charles E Bates4 136, Koshur Encyclopedia, Jammu & Kashmir academy of Art, Culture & languages, 1997


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Shah Naimuttullah immediately below the Safakadal bridge mentions that the Safakadal, the last bridge was built by Saif Khan in 1664 A.D and

subsequently came to be called after him5.

The areas between the main bridges being Safakadel, Kazikadel and Idgah suited the Khatamband artisans who shifted from Bijebihara, to settle

in and around these areas. Further, the rich Tashwan forests on the banks of the Jhelum around the same areas, offered a variety of different

timbers for construction and other wood crafts6. W. Lawrence, a British resident officer writes about the timbers of the Valley in 1871 A.D:

“Kashmir is rich in grand forests which provide great variety of timbers and listed around 33 kinds in all that grow in Kashmir. It is used in

houses, boats & bridges and imperious to water. The old shrines are made of deodar. The great Jama Masjid, Srinagar with its lofty cedars, is

said to have been constructed of timber cut from the Teshawan forest. The Teshawan forest is now part of the city lying on the left bank of the

river between Fatteh & Zaina bridges. It is probable that in old days the deodar was spread all over the valley but the building requirements of

Srinagar soon exhausted the deodar forests in the country of the city”.

This migration occurred over several generations according to the demand for Khatmbandi in new building projects commissioned by the rulers

and the influential elite of the time7. The last of the families are said to have come to Srinagar particularly during the Sikh and Dogra periods to

service the houseboat making industry in the 19th and early 20th century. Today, there are skilled carpenters in Tral area but hardly any

Khatamband practitioners. The Gazateer of Kashmir compiled by C.E Bates in 1869 lists only 4 carpenters working in Tral area.

5 357, Gazateer of Jammu & Kashmir, Charles E. Bates6 79, Valley of Kashmir, W. Lawrence7 Ali Mohammad, Khatamband artisan, Safakadal, Srinagar


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Some of the well known Khatamband master craftsmen who migrated to Safakadel area were Gulam Muhad (mohiuddin) Geeru, Wast ma’m

(Gulam Mohamad), wast Sabr, wast Sul’haji and Mohamad Siddique, Gandherpora, Gulam Nabi Geeru, Gulam Mohamad Najar shifted to Idgah

area8.

Traditionally, the Khatamband craftsmen, Gu’rs, are a subgroup of a larger community of carpenters or Najars / Chans, involved in

woodworking. They were highly possessive about the craft and considered themselves as upper castes within the Najar community, therefore,

they had been secretly guarding the art till the20th century. The craft passed on from generation to generations inside the clan.

After 1968 the traditional Khatamband families opened the craft to larger group of Najars / Chans, which proved a boom for its survival. A Govt

order was also issued during that time saying that all important Government structures will have Khatambandi. The craftsmanship and the

traditional decorative motifs of Khatamband were revealed to a larger community. There are other castes like Baths, Sofis and Ganies who are in

the same craft now. In fact, the Secretary of the associated emphasized that new and motivated trainees are not turned away though the

traditional karkhanas system still ensures largely members of the same clan learn and establish new karkhanas.

Craftsmen work in karkhanas, small units consisting of 5-15 workers, owned by a karkhanadaar or manufacturer and supervised by a Usta or a

master craftsman. The karkhanadaar usually is an artisan himself but focuses on the business end of the unit like getting new orders, negotiating

rates and customer relations, managing payments and money transactions. The Usta is responsible for calculating the execution of the required

quantity, procuring good quality wood and seasoning, supervising the production and workers wages as well as the quality of the work. The

workers also have a hierarchy in terms of seniority and experience with the young trainees learning under one of the senior worker. The average

learning period is min 6 to 8 years to become proficient in all operations of production. The workers have close congenial relationship with each

other and this atmosphere in the karkhanas provide an excellent background for informal learning and sense of belonging.

8136-137, Koshur Encyclopedia, J&K Academy of Arts, Culture & Languages, 1997


28

Efforts by an innovative young Khatamband craftsman during 1980’s to introduce simple machines to replace some of the tedious operations led

to more and more innovations in developing machines modified specially for Khatamband. It has reduced cost, time and increased profits

ensuring a viable livelihood for workers. In spite of all this, the building industry witnessed a recession during the political turmoil in the state

and hardly any new public or private buildings were being commissioned. Artisans also say that the art had simply died down during the mid

nineties as most of its consumers could not afford the luxury of Khatamband. Many of them received outside commissions for Khatamband to be

installed in affluent Kashmiris who had settled in Saudi Arabian countries and India during this period 9. They also went outside the valley to

work on mosques in various places Delhi, Mumbai and an amusement park in Chennai built by a film star.

All Jammu and Kashmir Khatamband Ceiling Carpenters’ Union was re-established in 1980 with its head office at Safa-kadel, Srinagar. The

union comprises of 72 Karkhanas as memebers10. This is the only union for the Khatamband in the entire valley. The union has 20 executive

members. There are 319 members who work as general body members for the union. The office possesses basic things like the Khatamband

designs books, member registration records, minute book, income- expenditure records. The union has a bank account in its name with two

nominated signatories for operation. To ensure market (local, national & international) is the main thrust area of the union in future.

The idea of Union was conceived in 1939 with an aim to seek financial support from government in-terms of receiving wood on subsidy basis.

The union was able to get wood on subsidy basis till 1964. From 1964 to 1972 due to the new priorities of state the government stopped the

support and therefore in same period the no of artisans also stagnated till late 80s.

9 Bashir Ahmed, Khatamband artisan, Safakadel10 Secretary, Gulzar Ahmed, All Jammu and Kashmir Khatamband Ceiling Carpenters’ Union


29

The union was reactivated in 1980 with a series of objectives. The election took place for new portfolios and the same union recently initiated

the matter with Hon’able minister, Saif-u-din Soz, GoI. The effort proved very successful and the amount of Rs.2 crore was sanctioned for the

subsidy of wood to artisans of Khatamband craft through Forest Corporation in 200811.

The craft industry is presently seeing a phenomenal increase in demand and commissions since the 2003 boom in the building industry. Many

restoration projects of mosques like the Ali Masjid and Char i Charief, as well as new public institutions and buildings have provided an

opportunity for the craftsmen to once again have an adequate means of livelihood. “I don’t see my sons without a job in future because they have

Khatamband as family business. I want them to learn basic education in the formal school then they will join the trade”, says Bashir Ahmed, one

of the Karkhanadars at Safakadel.

List of Practitioners with Scale of Manufacture

There are were only four (04) practitioners of Khatamband listed as per the Base line survey conducted by Handicraft Department in 2003.

However, the figures as per the J&K Khatamband Ceiling Carpenters union and department of handicraft more than 500 artisans are are

registered witt them.

11


30

Year 1981 1991 2001 2008 2011

No of

Khatamband

artisans

170 200 250 319 1000

1 2 3 4 50

500

1000

1500

2000

2500

yearNo of Khatamband artisans


31

Source: Union

Proof of origin with historical reference

There are different stories as far as the origin of Khatamband in Kashmir is concerned. The technique of Khatamband can be traced back to Arab

times and subsequently came to parts of Central Asia with the Islamic conversions during the Timur period, but seemed to have been referred to

by different names. The Turkish doors, windows and pulpit uses a similar technique but called by another name Kondekari or Kundekari12

It is believed to have come to Kashmir during the sultanate rule. Since there is absolutely no evidence of woodwork made of many small pieces

mentioned prior to the 14th century this is assumed to be most likely, though Kashmir was renowned for carving skills and amazing construction

of wooden houses, boats and massive deities even before that.

Some have credited the introduction of Khatambandi and Hammams in Kashmir to Mirza Hyder Doughlat, a military general who captured

Kashmir during early Mughal times in 154113. Mirza was a Turkic speaking prince who wrote in Persian and Chaghatai language. He was also a

historical writer and great patron of music. The second version is linked to the coming of Mir Sayed Ali Hamdani and his 700 disciples into

Kashmir in 1373 AD, of whom a large number were Sufi saints and artists, calligraphers, masons, metal engravers, embroidery artisans and

carpenters14. This last reference seems most plausible as it also corresponds with the artisans’ own stories of their ancestors.

12 http://www.kundekari.com13 586, Kashir, being a history of Kashmir, Koshur encyclopedia, INTACH report, cultural resources mapping-Srinagar city, J&K 14130-131, Koshur Encyclopedia, Jammu & Kashmir academy of Art, Culture & languages, 1997


32

Khatamband is also said to have been introduced in Kashmir by Sultan Zain Ul Abdin during 1423-1470 when he invited artisans from Central

Asia to settle in Kashmir and upgrade the traditional crafts here. Since there is no mention of this in his detailed chronicles, it is more likely that

he improved Khatamband in Kashmir rather than being part of its origin in Kashmir.

To understand the historical evolution of Khatamband as produced in Kashmir we have to start with various terms and definitions that are related

to Khatamband.

Intarsia is inlay on wood with ivory, bone or shell. It came to Europe from Arab lands during the 11th century. Inlay of any material, ivory, bone

or shell on wood is called intarsia. Grooves are cut into the surface of the wood according to a pattern and the tiny flaks are inserted or fitted

into them, with some adhesive finally securing the joints. Here the base wood is not covered fully and an essential part of the design.

The wooden coffins, chests and other church furniture especially in Lombardy and Veneto from the 16th century were decorated with geometric

designs made by polygonal tesserae of wood, ivory, mother of pearl and is called Certsosina in Italy.

Marquetry is a kind of veneering by which tiny strips of ivory, bone wood or any other material are appliquéd en masse on the wood surface

with strong glues and other fixatives. This method has perhaps emerged from veneering cheap wood with thin strips of better wood or ivory in

furniture making and could have preceded intarsia. Maturation of this craft was recorded in Egypt and Syria in the 11th century and reaching its

peak in the 13th and 14th century under the Mamaluk sultanate rule.

The above two crafts and their related technique are important to our study because of some commonness in terms of either the term

‘Khatamband’ or the technique of Khatamband. More elaborate details are provided below.


33

Inlay or intarsia was and still is called Khatim bandi in Iran15. “Khatimbandi comprised all kinds of minute inlays of ivory, bone, mother of pearl,

brass, silver and woods of various hues fitted into the grooved base of the wood”.

A form of this genre, called khatam kari, is more of “marquetry of miniscule mosaics” because it consists of veneering the surface with thin

strips of wood set with thousands of minute particles from various mediums. Sometimes, over four hundred filaments are appliquéd within a

square inch. Isfahan and Shiraz in Iran are the main centres of this work even today16.

Khatambandi, a kind of marquetry-inlay, came to Iran from Egypt and was promoted during the Abbasid Caliphate between the 8th and 9th

centuries. By the 10th century the gifted Persians had become masters. Muhammad Khurasani from eastern Iran migrated to Tunisia in Egypt

and made chest of ivory inlay for the Fatimid Caliph Al Muiz in 952-975. This chest has his name and is in the National Archeological Museum

in Madrid, Spain.

Timur Lung, ancestor of the Mughals in India, built his palace in Samarqand with Khatam bandi doors in 1396 and culmination of the intarsia in

purely geometric mosaic patterns was reached in the doors from Timur’s mausoleum in Samarqand (1406), published by the survey of Persian

art by Pope17.

From this time, intarsia in the Persian style, that is Khatambandi is said to have “expanded into many variations in technique and new

mediums”18. This supported by many examples from across the world with rubies, sandal wood, pearls etc. Khatamband as it exists in Kashmir

today could have been an off shoot reflecting various Turko-Syrian influences as well as the Persian style of inlay and Marquetry.

15 history of handicrafts, Akhter Riazuddin, Hijra council of Pakistan16 history of handicrafts, Akhter Riazuddin, Hijra council of Pakistan17 history of handicrafts, Akhter Riazuddin, Hijra council of Pakistan18 History of Handicraft, Akhter Riazuddin, Hijra council of Pakistan


34

Tracing this process of assimilation and development towards this new craft-Khatamband is not only interesting for its own sake but especially

towards providing more evidence to support the same above proposition. This is more likely because of the similarities in technique with Turkish

Kundekari that is used to make mosque doors, windows, minbar and pulpits.

Kundekari is defined as “cluching, grabbing, catching, seizing and holding19”. It originated in Ottoman Turkey where pieces of shaped wood are

interlocked through rabetting and mortising, without use of any nails, needles or glue. Seljuk Turks excelled in Kundekari and Ottomans carried

it on and practiced in turkey even today. The raw materials are different from Budloo and include shell and precious stones. The designs are

floral and geometric. Some of the most impressive workmanship is seen between 16th and 17th century with combining special features of

Ottoman and Anatiolian Seljuk.

That Kashmir has assimilated both the Persian as well as the Turkish influences in woodworking arts and developed new stylistic as well as

functional interpretations of these with traces of older Buddhist and Hindu tendencies is clearly visible in the vernacular and Muslim architecture

of Kashmir20. This has also resulted in new crafts and products with a distinctly Kashmiri style that have been adapted, modified by the local

sensibility and requirements. Khatamband is one of them.

Many examples of Persian style of inlay has been recorded in Gujarat in 1500 AD given the close ties between the sultan of Gujarat and the

Mamaluk sultans of Egypt and Syria at the time. In Khulasat al Tawarikh by Sujan Bhandari, the historian writes with reference to Gujarat,

“Naqqashan and khatambandan were active in making chests and pen boxes inlaid with mother of pearl”21. (but here the Khatambandan is

clearly reffering to the Persian inlay)

19 report on Minbar of the Al Aqsa Mosque, Dr. Ercan Ozer, 200720 Kashir, being a history of Kashmir, GMD Sufi21 273, history of handicrafts, Akhter Riazuddin, Hijra council of Pakistan


35

Abul Fazl, during the reign of Akbar (1550-1605) mentions designers, wood inlayers and countless craftsmen so set mother of pearl that it

appears a fine line22. Bernier accompanying the emperor Aurangzeb to Kashmir in 1665 noticed the beauty of palanquins, bedsteads, ink stands,

boxes and spoons.

According to him Kashmiri exports of dainty items were found all over India. “they (Kashmiris) perfectly understand the art of varnishing and

are eminently skilled in imitating the veins of certain woods, by inlaying it with gold threads so delicately wrought that I never saw anything

more elegant or perfect”23. Here again it is a clear reference to inlay but is inconclusive in explaining how the wood-inlay in Kashmir could have

evolved into the present day Khatamband or if it did so in fact. It does leave room to propose that Khatambandi inlay of geometric patterns co-

existed or developed into present day Khatamband.

Let us look at the scenario in Kashmir during parallel times. It is noted that the woodworking skills were already of a very high order which

received a further impetus with the shift of religion from Hinduism to Sufi Islam and the political reigns of power and influence into the hands of

the Sultans from the Shah Miri Dynasty with Turkic origins. The new elite sought inspirations away from the temple friezes and looked towards

the Islamic world for a new aesthetic. The wood workers of Persia, Syria and Egypt had centuries of experience in fine artistic work while their

artists had already developed a distinct Islamic aesthetic idiom over more than 500 yrs. It was from the Umayyad and Abbasid times that deeply

cut reliefs of abstract arabesques vegetal scroll as well as figural and animal designs were incorporated.

Tral, 7 miles southeast of Avantipor in southern Srinagar seems to be where the story of Khatamband and many other wood crafts begins in

Kashmir.

The first two emissaries of Mir sayyid Ali Hamadani who came to Kashmir during the time of Sultan Shihabud Din (1354-1373), Sayyid Taj ud

Din and Sayyid Husain Simnani, lay buried in Avantipor and Kulgam (near Islamabad) respectively24. The revered sufi Sayyid Mir Ali

22 485-86, Ain I Akbari, trans Jarret23 258-9, Fancois Bernier, Travels, 24 Kashir, being a history of Kashmir, G M D Sufi


36

Hamadani or popularly known as Shah I Hamdan, from Iran himself visited Kashmir three times accompanied by 700 sayyids and stayed in

Kashmir for two and half years during 1379 AD25.

His son, Mir Muhamad Hamadani, came to Kashmir in 1393 during sultan Sikander’s time and stayed for 22 yrs. He built a Khanqah I Ala

(exalted shrine) in Tral, in memory of his father with Sultan Sikander’s help. His second wife renamed Bibi Baria, daughter of a Kashmiri

minister, lays buried in a tomb in Kralapor, 5 miles south of Srinagar. A shrine in his memory was later built by Sultan Zain Ul Abdin in Pampor

on the way to Avantipor. The sultan Sikander presented Mir Muhamad 3 big villages as presents in the southern paraganas including Tral which

the Sayyid declared as waqf for his hospice.

Sultan Sikander had interchange of presents and books with Timur Lung from Samarqand, who came till the Indus on his way to visit Kashmir

before returning back to his capital and canceling his visit. Many madrasas, mosques and khanqahs were built in his time. The first building

being the serene Khanqah I Mualla in the memory of Shah I Hamadan on the banks of the Jhelum and then the Khanqah I Ala (the exalted

shrine) in Tral along with a colony for the residences of the sayyids who came with or after Mir Ali Hamadani.

He then went on to rebuild the grand Mosque, Jamia Masjid in the heart of Srinagar and the tomb of Husain Simnani in Kulgam. The mosaic

work in the Jamia Masjid was executed without any renumeration by two well known mosaic workers, Sayyid Muhammad of Luristan and

Sayyid Sadr ud Din of Khurasan26, both old companions of the Mir Ali Hamadani. The names of both these workers clearly refer to where they

were from; Luristan is in western Iran and khurasan is in eastern Iran. While he, Sultan Sikander, was called ‘butshikast’ or iconoclast, for

destroying many idol temples and shrines, he was also considered brave and cultured, fired by a zeal to establish Islam in Kashmir. Hearing of

this many learned men from Iraq, Khurasan and Mavara un Nahr flocked to his court.

25 Kashir, being a history of Kashmir, G M D Sufi26 Kashir, being a history of Kashmir, G M D Sufi


37

The architectural style of the Islamic wooden architecture in Kashmir is said to have direct Abbasid influences from Persia particularly in its

wood working arts like traceries, relief ornaments recessed into the wood and interlocking elements and lasted till the end of the Shahmiri

dynasty.

The mosque of Shah I Hamadan is a double storied with eight sided pillars, foliated bases, capitols, ornamental dados arched and recessed

mihrabs, paneled walls and painted ceilings carry quite a few Persian inspirations. The most splendid Khatamband is found in this mosque with

many other wooden artistic works and fine hand painting. Nicholls remarks that the exteriors of many of the old ziarats and mosques in Kashmir

with their sloping roofs rising in tiers to form a pyramid over gables and overhanging eaves are markedly different from any other examples of

Islamic architecture and conceal interiors ornamented in familiar Islamic style27. There is a close resemblance in style and details of the mosque

of Madani and of Amir at Pampur to the Ghaznavid time from Afghanistan which was open to the same influences from Persia as Kashmir was

during that time28.

The reign of his son Sultan Zain ul abdin is regarded as the golden age of Kashmir and fondly remembered even today as ‘Budshah’ meaning

beloved king. He continued the trend of inviting artists, craftsmen and scholars from Iran, Turan, Turkistan and India to settle in Kashmir and

teach the kashmiri craftsmen many of the improved techniques in textiles, metal work, and wood work among many other arts and crafts. The

karkhanas system on the lines of guilds is one of his main contributions towards organizing craft production. Scholars and artists from his court

were also sent to various places in India and Central Asia to get exposure and Kashmir achieved a hitherto unseen economic prosperity as well as

cultural renown during his time.

He adorned Kashmir with many buildings, townships and palaces traces of which are present today. Zainakot, Zainapor, Zainagir, Zainagam and

Zaina tilak are few of them29. His Zainalank, a summer palace in the Wullar lake and his Suna lank, a three storied house in the Dal, are

27 history of handicrafts, Akhter Riazuddin, Hijra council of Pakistan28 history of handicrafts, Akhter Riazuddin, Hijra council of Pakistan29 Kashir, being the history of Kashmir, G M D Sufi


38

ingeniously built on stone foundations submerged in the water. He also built the mosque of Madani and tomb of Madani in a continuation of the

same style of wooden architecture and considered to be amongst the oldest surviving examples in Kashmir.

Mirza Hyder Dughalat, early Mughal Governor of Kashmir writes in his memoirs, “In Kashmir one meets with all those arts and crafts which

are, in most cities, uncommon, such as stone-polishing, stone-cutting, bottle-making, window–cutting [tabdan turash], gold beating, etc. In the

whole of Mavara-un-Nahr, except in Samarkand and Bokhara, these are nowhere to be met with, while in Kashmir they are even abundant. This

is all due to Sultan Zain-ul-Abidin”30.

He has described Zain ul Abdin’s palace, ZainaDub, in his new capital Zaina Nagar or Razdan in Nausheher as a first hand account.

“Comprising of twelve stories with fifty rooms, halls and corridors, the whole of this lofty structure is built of wood. It has more rooms than

palaces in Tabriz, Herat and Samarqand and a wonderful structure”.

Kashmiri scholar and court chronicler, Pandit Srivara records that the top of the palace is adorned by a beauteous golden dome, wide audience

halls with a three cornered throne and spacious walls lined with glass. It was burnt down by Yusuf Chak in the 16th century and it is said in

popular folk legends that the smoke was simmering for six months & people went to get coal from there for months after it was burnt.

The style of wooden architecture that was established in and around Avantipor during the early sultanate time spread North towards Srinagar

later during Zainul Abdin’s period as seen clearly in the Mosque and Tomb of Madani and all his palaces. It continued into his son’s time, Hasan

Shah, with the rebuilding of both the Jama Masjid and the Shah I Hamdan and further benefiting by the Afgan Turkish influence as a

consequence of the governorship of Mirza Hydair Dughalat, a Chaghtai Turk, for his King in Kashgar from 1540 to 1551.

The Kashmiri style was also vastly informed by the first Arabs from Sryia who came to Sind and established the great city of Multan with

masjids and minarets and were spread as far as the borders of Kashmir in 715 AD31. They were respected and feared by the Hindu kings of

30 Dughalat, Tarikh I Rashidi, 31 Kashir, being the history of Kashmir, G M D Sufi


39

Kashmir and there are instances where they sought the help of Chinese emperor to fend off the Arab advances towards Kashmir when Gilgit and

many Dardic areas had already fallen to them. Three thousand of them are said to have been living in Kashmir and serving as high military

officers in the armies of the Hindu King Harsha around 1110’s and later according to Marco Polo’s account32. The official documents in Sanskrit

were drawn up in a curious jargon full of Persian and Arabic words and were used by both the Hindu Brahmans and the Musalmans.

The above references clearly lead us to believe that Kashmir has assimilated both the Persian as well as the Turkish influences in woodworking

arts and developed new stylistic as well as functional interpretations of these with traces of older Buddhist and Hindu tendencies is clearly

visible in the vernacular and Muslim architecture of Kashmir. This has also resulted in new crafts and products with a distinctly Kashmiri style.

Khatamband is one of them.

While many the early structures have been damaged and renovated and hence, cannot be provided as existing examples of the original

Khatamaband, the examples from many structures built a century later are excellent evidence of the existence of Khatamband during that period.

The shrine of Kashmir’s beloved saint, Nand Rishi or Noor ud Din, who lived during Zain ul Abdin’s time was built in 1589 at Char e Sharief,

on a small hill about 40 kms from Srinagar and renowned for its exquiste craftsmanship in wood work. Unfortunately, it was rebuilt in a modern

style in 2002, after it was burnt down in a military encounter though there are many photographs of this small structure in the information

archives. Another example is the monastery of Reshi Zain ud Din, in Aishmukam in the lidder valley, built later in the1650’s has again some of

the most amazing woodwork of this kind with a distinctly Kashmiri style of intricate carved work as well as reliefs and lattice work and paneling

all combined into a rich ornamental style that was also functional and refrained from opulent gaudiness.

Kashmir was also developing rapidly in the area of learning, with 19 new educational institutions being set up between the period of 1314 to

1668 AD, including Dar-ul-ulum, the first University at Naushehr, near the royal palace of Zain-ul-Abidin33. Srinagar. Five of them were for

32 Kashir, being a history of Kashmir, G M D Sufi33 Kashir, being a history of Kashmir, G M D Sufi


40

women. Jamal-u-din, a scholar who came with Shah Hamdan and continued teaching in Urwatul Wusqa after he settled in Srinagar. The College

of Jamia Masjid had well known teachers like Mulla Mohammad Yusuf for philosophy, Sayed Haroon Mantiq, the well known logician who

taught logic & metaphors and Mulla Sadir-u-din Kashi for mathematics.

Even before the Sultanate times there are exceptional evidences of both wood working skills and growth of astronomical sciences based on

mathematical calculations in Kashmir during the 11th century. Alberuni writes in1020 A.D that due to the invasions of the Muslim Turks in north

and central India, all learning had been pushed to the remote Kashmir and Benares34, away from destruction and mentions several books and

treatises written in Kashmir during the time. He concludes that having studied Greek and Persian sciences in mathematics it is the Hindu science

that has evolved a method to calculate macro and micro time to the power of.

He also describes idols of Multan, Taneshwar, Somnath and Kashmir made on exact geometric calculations and following prescribed

proportions. He further mentions a wooden idol of Sarada, much venerated and frequented by pilgrims, in inner Kashmir about 2 to 3 days

journey from the capital in the direction of the Bolor mountains35.

The availability of plenty of various kinds of wood in abundance and around the city of Srinagar and the rich pine forests located towards the

south in Anantnag or Islamabad, Shupian and the Lidder valley is another factor for the emergence of new wooden arts in Architectural form.

The Khatamband artisans themselves trace their history back to village Guer, in Tral near Bijebara based on the stories passed on to them by

their ancestors. They believe that the Khatamband technique and designs were introduced in Kashmir by a disciple of Mir Sayyid Ali Hamdani,

who settled in Tral region to preach the new religion36. He is said to have taught these to some of the carpenters of the Guer village which is

about 4 kms off the road from Tral. Some of these carpenters adapted the designs and techniques to local woods and built the new mosques and

34 Alberuni’s India,35 Alberuni’s India, 36 Ali Mohammad Geeru, Khatamband Artisan, Safakadal


41

shrines in that area and became well known for their skilled artistic work all over Kashmir. The shrine at Tral is supposed to be one of the oldest

in Kashmir.

They also say that the craft was always known by ‘Khatamband’ in Kashmir and by no other name. The ‘khat’ referring to ‘drawing lines’ in

Persian and also means ‘patch’ in Arabic. Though the fact that the names of the designs and the geometric shapes are Persian terms attest to the

fact that the designs did come from Central Asia, the artisans also believe that the use of Budloo (a waste fir wood), use of local kashmiri terms

for the technique, tools and operations used in its production, use of other materials in combination with wood and especially use of it as ceilings

are further developments innovated by the their ancestors. The also say they have created number of new designs based on the basic few that

came from Central Asia and now have more than 160 designs in all.

It is believed that with the shifting of capital city from south Srinagar to the north of Srinagar during Sultan Zain ul Abdin’s time, the craftsmen

of Khatamband also shifted gradually from Bijbehara to Srinagar. “It was during Sultan Zain-ul-Abideen’s reign in the 15th Century that the first

permanent bridge at Alaudinpura known as Zaina Kadal was built. From henceforth the city would continue on both the banks, though the right

bank would continue to outgrow its other half”37.

Bijbehara lat 33 degree- 41’, long 75 degree -9’, a historical town is situated at a distance of 48 km in the south of the Srinagar (Lat 34degree 5’,

long 74 degree 50’) in district Anantnag. Baron Hugel writes that Bijbehara may be considered the next town in importance to Kashmir as it was

one of the ancient capitals of Kashmir in the Hindu period and the name of the town actually emerges from Vijaypora38. The village of VijBrara,

is also mentioned in the Ain-i-Akbari as a formerly large city and having wonderful temples39. It is believed that craft spread from this village

Gu’r which falls at the right bank of the Jhelum, between Anantnag and Bijbehara40.

37 report, Cultural Resource Mapping of Srinagar, INTACH, Srinagar.38 Baron Hugel, travels, 39 p-357, vol ii, Ain I Akbari, 40 Gazetteer of Kashmir, Charles Ellison Bates


42

Jhelum, the chief river of Kashmir flows from the south through the centre of Srinagar with nine bridges, the construction of which have been

described in detail by W. Moorcroft, a british doctor, in his travels in the year 1823 A.D41. The river is till today used to cheaply transport

massive logs of wood from the distant forests to the timber yards in the city. The rich Tashwan forests on the bank of the Jhelum, offered plenty

of pine for construction of the new capital city. The king and the new Islamic clergy commissioned monumental mosques and palaces to

celebrate the arrival of a new era in the history of Kashmir. Like many new Mohallas where specialized artisans of a particular kind made their

homes, the Khatamband artisans who shifted from Bijebihara settled down in and around Safakadel, the main areas between the bridges called

Safakadel, Kazikadel and Idgah. (MAP of Sgr-C.E Bates). This area continues to be the main centre of the Khatamband producers even today.

One of the Khatamband families is named Geeru, a throwback to the name of the village from which they came from. Haji Ghulam Nabi Geeru

says his family adopted the name of the village guer as their kram name and is one of the original families that learnt the Khatamband technique

and has been producing Khatamband in the Idgah area for several generations since.

While the Mughal period saw a decline in the use of Khatamband and a preference for stone masonry for most of the royal buildings, wood was

undoubtedly the predominant material for vernacular construction; “The houses for the most part are wood, are well built and consist of two or

three stories. Wood is preferred on account of its cheapness, and the facility with which it is brought from the mountains by means of so many

small rivers”.

Boat making in Kashmir is a very old one and there are references to this industry in the Ain I Akbari. The different kinds of boats have been

described by Younghusband42 and Rev. Tindale Biscoe say that the Kashmiris have a special way of building their boats and he has never come

across boats built as in Kashmir. The boats were the main transport through which all commerce moved in south Kashmir, the goods were

dispatched and received to Srinagar along the river Jhelum.

41 W. Moorcroft, travels, 42 p216, Kashmir, Younghusband, A C Black, London, 1909


43

The focus of wood crafts shifted from Kashmir to the Punjab and other areas with the annexation of Kashmir by Ranjit singh. While many

developments are documented in wood carving, lattice work, furniture and cabinet making, Khatamband did not go through many changes and

continued in the same manner in Kashmir till the Dogra period starting from 1846 A.D.

The friendship between Europeans, especially the British and the Dogra ruler of Kashmir brought many European travelers to Kashmir and their

accounts of the city and its people and particularly its crafts are numerous. The maximum references to Khatamband are from this period

between 1823 to 1920’s with detailed descriptions of the technique and the buildings.

Mr. Walter Lawrence, a british resident officer in Kashmir writes in 1876, “Beautiful ceiling of perfect design, cheap & effective are made by a

few carpenters, Who with marvelous skill piece together thin slices of pinewood. This is known as ‘Khatamband’. The result is a charming

ceiling in which the various shades of pine slips blend together in perfect harmony. A great impetus was given to this industry by houseboat

builders and darker shades of walnut wood have been mixed with lighter shades of pine”. He also mentions the shrine of Nakshbandi, not far

from Jamia Masjid, as the finest example of Khatamaband43.

Lawrence also lists Bejbihara for its reputation for excellence in wood carving and Kashmir having 1,348 carpenters listed under the category of

provision sellers and artificers during his time44.

43 371, W. Lawrence, Valley of Kashmir44 242, W. Lawrence, Valley of Kashmir


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There is an interesting reference to the exact fixing of wooden panels to grooved posts known as ‘pacher bandi’ used in boat making industry of

Kashmir that exactly imitates the joint used in Khatambandi and has been suggested to be the predecessor to the development of Khatamband by

British officer Mr. M.C Tickell, Director of Kashmir PWD. 45.

Praising the Punjabi Carpenter for their high quality of joineries, he goes on, “there is a method of joining in use amongst the kashmiri

carpenters which appears to be peculiar to them, applied to many surfaces where other means may be employed elsewhere. It is a rough form of

paneling. Even common kashmiri houses uses this method of making a wall with vertical and horizontal posts are erected with grooves of 1”

wide and 1.5” deep. Roughly split planks are then fitted into these grooves and mud plaster applied to both sides of the wall resulting in a kind of

lath and mud plaster wall of wood. Such work is known as “pacharbandi”. There are no diagonal bracing and after a few years the houses are

anything but perpendicular. By another application of the same principle an excellent paneled wall is made. Grooves having been made in the

horizontal & vertical forming the frame work (Say the sides of a houseboat) a plank is inserted into the vertical groove then a small post is

inserted which besides engaging in the grooves of the top and bottom post is itself grooved on both sides. By thus alternating planks double

grooved posts, a paneled wall is formed, each panel is held in a groove on every side. The so called Kashmiri ceilings (Khatamband) is a most

engineer extension of exactly the same principle”.

“Thin panels of soft wood generally picea webiana are cut into various geometric forms and are held together by being placed in the grooves of

small double grooved battens. To this kind of work, which is a specialty of a limited number of workmen in Srinagar & Islamabad, the above

comments on the bad skills of the Kashmiri carpenter do not apply. The fitting of the numerous small pieces of wood forming a well executed

Kashmiri ceiling is most accurately done, doubtless due to the fact that there are only a few pieces that have to be each repeated many hundred

times ”.

45 371, W. Lawrence, Valley of Kashmir, quote from a note written by Mr. C. Tickell, Director of the Kashmir PWD


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The poonch fort built by Raja Abdul Razaq Khan around the 1720’s which was later made into a palace in 1850-1892 by Raja Moti singh with

the help of an European architect has very intricate Khatamband work on the ceilings.

In the last 100yrs, Khatamband evolved as a functional craft production and less as an artistic one its use was promoted in all the public

buildings and colonial residences in Kashmir and even exported to England as an aesthetic and effective insulation that was also a cheaper

alternative for residents there46. The delicate wood carving and the fine naquashi embellishments of gold and mineral colours also decreased and

instead a type of mullion work with glass and mica were used for windows, doors and roshan daans. During the late 19th century the house boat

owners gave a further impetus to this craft industry when all the houseboats for tourists were furnished with extensive Kashmir woodwork.

The ceiling is first fitted with wooded battens running across in a square grid called jaamp in Kashmiri. Several flat planks of wood are fixed on

this jaamp to the cover the ceiling completely. It forms the understructure or base for fixing the Khatamband and of course necessary for

insulation from the cold coming from outside through the roof. There is further gap created between this under structure and the paneling pieces

that allows air to be trapped thus providing a second insulating layer to prevent heat loss from the interiors.

Designs and motifs:

The Khatamband panelling gradually builds like a jigsaw puzzle into a beautiful geometric pattern that is stunningly intricate. One of the most intricate and time consuming design is the Barah Murabba which has around 3750 pieces in a ceiling of 10ft x10ft size. The smallest piece is sometimes less than 40mm or 1.5 inches.

There are more than 120 known designs with the artisans. The designs are based on a central polygonal motif that repeats into beautiful geometric tessellations spreading over large surfaces. The motif could be, for example, a 12 sided shesh or star sorrounded by 6 pohal or hexagons, as in sheshgul design meaning literally a star flower. The tessellating pattern is defined mainly by the crisscrossing guz, which is in relief, and combined with flat shapes. The regularity of repetitive lines and angles, soft light and shade created by the low relief, allows for a rhythmic and soothing visual experience. The wood ages well and adds warmth to the overall atmosphere in the room.

46 586, KASHIR, being a history of Kashmir, G M D Sufi


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Design No:

NAME OF DESIGN

1. Moje2. Moje Badaam daar3. Moje Lehar4. Teen Bakhish5. Teen Bakhish Badaam Walla6. Chaar Bakhish7. Chaar Bakhish Dabri walla8. Chaar Bakhish Hasht tabbal9. Chaar Gull10. Chaar Phool11. Chaar Ling 12. Panch Murabba Rista Walla13. Panch Murabba Badaam Walla14. Shesh Gull15. Shesh Gull taki Walla 16. Shesh Gull Double Taki Wallaa17. Shesh Gull Chowk walla18. Shesh tez19. Shesh tez taki walla 20. Shesh Barraan21. Hashtkan chattoo22. Hashtkan chattoo table wallaa23. Hashtkan chattoo badaam Wallaa24. Hashtkan chattooDabri Walla 25. Hasht Kabooter26. Hasht Baddaan Single27. Hasht Baddam Double


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28. Hasht Baddam Murabba29. Hasht Baddam Dabri Walla 30. Hasht Tabbal 31. Hasht Tabbal Dabri Walla32. Hasht Punjak33. HAshta Ristta 34. Aaght Barraan35. Nau barraan 36. Deh-Waz-DEh-Girid37. Deh-Waz-Deh-Punjak38. Deh Tez39. Deh tez tabbal walla 40. Barraan Tez41. Barran Murabba42. Changus Khani43. Changus Khani Baddam Walla44. Changus Khani Dabri Walla45. Taka Pohal46. Hazar Gardan47. Hazar Gardan Sarwa Walla 48. Hazar Gardan Teen Bakhish49. Murabba Baddam 50. Baddam Murabba51. Paanch Murabba52. Paanch Murabba Drrabi daar53. Hasht Tabbal Hashtkan Chatoo54. Hasht Tabbal sarwa daar


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z


Paanch muraba Dawazi gird

49

Teen bakch Chaar phool


50

Chaar gul Dawaz –i-gird

Chaar gul


51

Dawaza da panchakh shaash gul

Double hash badaam


52

Hazaar gardaan

Duble hash badaam Hazaar gardaan


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Murba Badaam Gaadi Daar

Shash Teez


54

Hashkand Ctout Dabri daar Chaar Phuul


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Shash gul Murabba badaam

These designs are formed by assembling dil and guz in different patterns. The guz form a frame around each dil and holds all the components of the panel in place and adds to its beauty.

There are various types of dil and guz which have Kashmiri or Persian names according to the number of sides and by the kind of joints.

Chart - one pother & one land (+ shaped)


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Shranz - one pother, one land (letter X shaped) [Figure 4(a)]

Chowk - 2 pother, 2 land or 2 pother, 4 land (# shaped) [Figure 4(b)]

Posh - without any pother or land, made of single piece which is joint free (-shaped)

Drob - 2 pother, 1 land. [Figure 4(d)]

Bataphol posh - same as posh but smaller in size. [Figure 4(c)]

The smallest guz used in the Khatamband is called 'Bataphol posh' which is just 1.5” long and the longest one is- drob, is 25”.

The various types of dil are

Muraba – square [Figure 4(e)]

Mouje - Rectangle

Bita - Rhombus [Figure 4(f)]

Badam - Benzene ring shaped [Figure 4(g)]

Shash - Star shaped hexagon [Figure 4(h)]

Tak – tetrahedral [Figure 4(i)]

Rista - Pentagon or hexagon [Figure 4(j), (k)]

The rista is of two types the right-angled pentagon called 'hashi rista' &


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The regular pentagon shaped hexagon called matan rista. The hashi rista is used in the roof the ceiling and sometimes in the main body of some of the design for example in 'char Bokhcha'. The 'Matan rista' is always used in the main design.

“ultimate reality is at once absolute & infinite and beyond all form. It speaks to mankind through revealed forms which, while externally bound & limited, open up inwardly towards the boundless”

The Khatamband designs are based on the Islamic aesthetic style and meaning that developed as a result of its doctrine of unity which is central to the Islamic revelation combined with the nomadic spirituality which Islam made its own. The spiritual world is reflected in the sensible world not through iconic forms but through geometry and rhythm. A means of relating multiplicity to unity… Geometrical representations and themes of nature have been the most commonly used means to achieve this

Designs are named after the shapes that are predominantly used in it like in Hasht Kan Chot, which means a hexagon with its ear cut off! or sometimes named after a famous person associated to it like Chengis Khei Ni, a design liked by this particular emperor. There are believed to be more than 120 known designs and infinite variations of the same are possible.

The rista is of two types the right-angled pentagon called 'hashi rista' & the regular pentagon shaped hexagon called matan rista. The hashi rista is used in the roof the ceiling and sometimes in the main body of some of the design for example in 'char Bokhcha'. The 'Matan rista' is always used in the main design. The Khatamband designs are based on the Islamic aesthetic style and meaning that developed as a result of its doctrine of unity which is central to the Islamic revelation combined with the nomadic spirituality which Islam made its own. The spiritual world is reflected in the sensible world not through iconic forms but through geometry and rhythm. A means of relating multiplicity to unity. Geometrical representations and themes of nature have been the most commonly used means to achieve this.


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Method of production:

.

Raw Material

Tools

Process

Installation


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PRODUCTION PROCESS

Flow chart of process:


Sawing or cheerun

Seasoning or Hokhnawun

Making the master scale and master shapes, kannat

and andaz.

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There are seven sub-steps involved in this process


Making guz from battens .

Rand diun or Plaining

Khat-khash karun or checking for uniform thickness

Kurr diun or making side grooves

Khat diun or marking the battens

Khash diun or making the cuts for joints

Meena diun or making the top grooves

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The following sub-steps are involved in making them.


Alahida karun or to separate

Preparing dil or polygonal shapes

Andaz Trawun or marking the shape

Chatun or cutting

Leiter-e-khash duin or marking the borders

Newrawun or thinning the edges to make the borders

Rand Kadun or Plaining

Naquashi or carving

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Process:

The part of the tree that is used is the stem when it reaches to girths of 5’6”. The apical part of the stem and that towards the root is not used. Some of the artisans use sapwood only for manufacturing the Khatamband panels. Heart wood or gool is hard to work and gets cracked but most of them use heart wood and sapwood both.

The tree is cut into the logs called phad which is almost equal ¼ of the whole stem. These logs are made to float in the flowing waters by which they reach to an already specified site where they are carried to the band saw and sawn into 4 longitudinal planks called khanje. These are then sent to separate band saw where cutting of Khatamband raw material takes place.

Most of the steps in this process now use modern machine replacing traditional tools e.g. the process of rand kadun, kurr diun, letir-i-kash diun, nawerawun, grinding (zamavar kash) &meena randi. They also


Assembling or laagun

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use newer version of plainer and pencil in place of tradition ones (rickhna). But replacing these tools and introduction of machines has not affected the beauty or technique in any way but has simply enhanced the speed of process and saves time. Artisans still possess the old traditional tools and use them today but occasionally.

The process of manufacturing starts from the time when Khanje of wood reaches the band-saw for sawing into battens and planks of required size. It is completed in six stages. It consists of sawing the khanje, seasoning the battens and planks, making all the masters, making the guz and dil and finally assembling all the pieces to make a Khatamband ceiling.

Ist stage-Sawing or cheerun

The process of cutting the longitudinal planks of wood, khanje, into smaller planks and battens is very specific to producing Khatamband as it requires differing sizes of wood to be cut according to the product. Wider wooden planks of small thickness are required for the flat pieces called ‘pache’ and thicker sections required for battens called ‘Guz’ in kashmiri language.


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On the band saw the khanje are first cut transversely into two equal halves. The rest of the cuts are vertical or along the grains radially which is called rum-i-cheerun, resulting in four Triangular cross sections planks. These planks are of two types; a) triangular & b) with tetragonal cross-section. Both kinds of planks are collectively referred as bot-e in kashmiri.

The bot-e with triangular cross-section & tetragonal cross-section are cut in two different ways & results in two kinds of products. The former are cut into thicker lengths of 4’-5’ and later made into battens and the latter are cut into thinner planks to get the pacche


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While cutting the battens & planks the outer bark is removed completely. The length of the battens and planks should be along the grains; otherwise it results in more labour and poor quality. The inner heart wood is called gool in Kashmiri is removed by some of the artisans, but most of them use it. The process of sawing the bot-e of wood into smaller usable planks & battens is called tukai. The wood in this form is now ready to be sent to the karkhana.

2nd stage- Seasoning or Hokhnawun


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The seasoning is an important and time consuming process. The guz are stacked in an open & airy place for 2-3 months before they are used. The flat pache are also kept in stacks or are spread on the floor in the sun in the month of June, July and August. The weather in these months is fairly hot & allows for quick seasoning. While in winters they are kept near a bukhari.

3rd stage- making the master scale and

master shapes, kannat and andaz.

The ‘kannat’ contains all the coded information and calculations of that particular design, represented in the form of markings and is passed on from one generation of artisans to another. It is looked upon with great reverence as the knowledge about Khatamband craft given by their ancestors. A set of ‘kannats’ is what is considered most necessary to set up a new karkhana.


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The importance of the master scale or ‘kannats’ can be undertood as a time reducing tool so that the calculations need not be done all over again every time that design is commissioned.

The geometrical calculations required to accurately construct regular polygons like stars, octagons, pentagons and devise their peripheral dimensions and vertexes which are then distributed over several joineries of 450, 600, 900, 1200 with the tools available in the 16th century would have been quite a time consuming task. Only masters who also knew the behaviour of materials, particularly different woods, their warpage and contracting properties in different atmospheric conditions were able to calculate together with allowances for the given material while making Khatamband in wood. So the knowledge required in its production is not only geometrical calculations but also to translate these constructions into specific materials. Farma or andaz is the name given to the master copy of the dil;-a set of different polygonal shapes used in each design.


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Like the kannat, the first master set is made based on calculations and these are replicated during production.For the formation of andaz and kannat, there is a separate elaborate process which involves a geometrical and mathematical calculation. The process has been kept a trade secret.

4th stage-Making guz from battens .

The guz is the structural part of the Khatamband that joins each other and holds other components in its grooves. They are made in many numbers using a master scale- the kannat. The kannat is a long wooden batten with some marks on its one of the faces. The battens are marked and cut to make required joints according to these markings on the kannat. There is a separate kannat for each design. A particular kannat may be used in different designs or a single design may also need two or more kannats.


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The guz is formed of two parts viz the upper part 'Lanja or land' & the lower part called 'pother' Both of them are made by the same process

except for a few variations. It is one of the most important stages of the production and requires both skill and precision. There are seven sub-

steps involved in this 4th stage-Making guz from battens .

The guz is the structural part of the Khatamband that joins each other and holds other components in its grooves. They are made in many numbers using a master scale- the kannat. The kannat is a long wooden batten with some marks on its one of the faces. The battens are marked and cut to make required joints according to these markings on the kannat. There is a separate kannat for each design. A particular kannat may be used in different designs or a single design may also need

two or more kannats

The guz is formed of two parts viz the upper part 'Lanja or land' & the lower part called 'pother' Both of them are made by the same process except for a few

process

Rand diun or Plaining


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Khat-khash karun or checking for uniform thickness


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Kurr diun or making side grooves


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Khat diun or marking the battens


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Khash diun or making the cuts for joints


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Meena diun or making the top groovesAlahida karun or to separate

Regarding the khash diun it is necessary to mention there are alternate single and double cuts on any batten. The cuts are different for pother & land even when the markings are same. The components of two different shapes form the two parts of the lap and bridle joint later.


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The finished guz has almost trapazial cross-sectional view of the upper side with two shallow grooves called meena. The meena side of the guz lies on the front view and is mainly decorative. But it also helps the artisans putting right their minor mistakes if any, while assembling.

After separation, the land is fitted into the pother & the process is called jodun.


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A joint one pother can be joined to one, two or three 'lanja' & vice versa depending on the number of joints in each. The joint thus formed is of

lap and bridle type of joint. There are several types of guz depending on the angle of the joint & number of pother & lanja fitted together. There

are almost seven or eight types of guz in Khatamband. It is an important component of Khatamband as it holds the rest of the components or

polygonal chips inside its kurr & thus supports the whole ceiling and eliminates the necessity of using the nails or glue. It also enhances the

beauty of the whole panel.

5th stage - Preparing dil or polygonal shapes


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The thin planks called pache from the bandsaw are cut into polygonal shapes that are fitted inside the groove of the guz to form Khatamband. These shapes are marked and cut based on a master farma called andaaz. The breadth of flat pache depends on the type and diameter of the polygonal dil which is to be cut from it. The dil is always geometrical in shape. The following sub-steps are involved in making them.

Andaz Trawun or marking the shape


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Chatun or cutting


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Leiter-e-khash duin or marking the borders

Newrawun or thinning the edges to make the borders


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Rand Kadun or Plaining


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Naquashi or carving

For carving the polygons are sent to naqash or carver, who carves the roi, the central part of the dil.


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It is carved using different types of chisels called thapee, a 6” long nail called summa kuel, crave hathiyaar, naal-e-hathiyaar, and a hammer called thapi. Both the guz and the dil are now ready for assembling.


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6th stage - Assembling or laagun

The ceiling is first fitted with wooded battens running across in a square grid called jaamp in Kashmiri. Several flat planks of wood are fixed on this jaamp to the cover the ceiling completely. It forms the understructure or base for fixing the Khatamband and of course necessary for insulation from the cold coming from outside through the roof. There is further gap created between this under structure and the paneling pieces that allows air to be trapped thus providing a second insulating layer to prevent heat loss from the interiors.

A Khatamband ceiling usually has two parts - a hashi, a border and a matan, the main body of the ceiling. The hashi has a standard design while the matan can be any one of the 120 designs. They are seperated from each other by a thin band of wood of around 2.5” - 4”, running on all the sides of the ceiling. These bands have grooves only on one side unlike normal guz and are called sar or ling with. Sar is used in rectangular ceiling while ling is used in a circular ceiling and they are fitted with nails Two layers of dil, usually right-angled pentagons & guz posh are fitted in a pentagonal design which completes the border hashi of the ceiling.

The next step starts with the main body and design. The first polygon is inserted into the groove of the sar in the border. Then a guz is fitted to the other side this dil with the help of its groove and second dil is inserted on the other side of the first guz. This alternate arrangement of guz


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and dil is followed till one entire line is complete and then adjusted with a special tool to align perfectly. Subsequently, a second line of the flat shapes & guz is fitted both with each other & to the first line of polygons and guz without using any nails and the same process is followed till the whole ceiling is complete.

The technique involved in Khatamband is an alternate arrangement of polygonal shapes or Dil and grooved battens or Guz in all the directions. This arrangement is completed by three types of joints used in different parts of the panel instead of any glue or nails. Mortise and tenon joints. All the edges of the dil are sharpened to form the tenons. These tenons fit into the grooves of the guz acting as mortises. The guz have either two mortises or four mortises in it. The jointed is formed by lap and bridle type of joint. In this joint, a small 4sided groove is made in one batten and another groove which is complimentry to it is made in another batten. The two grooves then fit together into a lap & bridle joint

While assembling the panel ends of two battens meet in a miterlike joint though they are not linked to one another. This ensures the overall correctness of the pattern so that there are no defects in the designs.

RAW MATERIAL:

Wood used in Khatamband is mainly budloo also called sungal in Kashmir language. It is called silver fir in English and has been the scientific name of picea webbiana or abies webbiana though in the old times, walnut wood (doon), Deodar (deodara) and Himalayan spruce (rayil) was also used.

The Himalayan silver fir is preferred by the Kashmiris to the Himalayan spruce. It is easier to work as it is free from knots, more durable than spruce. Since Khatamband work can be performed with all the four types of woods but the most commonly used wood is the silver fir as it is cheaper, softer and easier to work with compared to the other three types. Other reason as to why silver fir is preferred over others is that the local government provides subsidy to the artisans for its procurement.

Characteristics of wood used in Khatamband:

Douglas fir(Budloo):


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Douglas fir (abies webbiana) is not a true fir at all, nor a pine or spruce. It is a distinct species named after Archibald Menzies, a Scottish physician and naturalist who first discovered the tree on Vancouver Island in 1791, and David Douglas, the Scottish botanist who later identified the tree in the Pacific Northwest in 1826. The species is known by a number of common names including Oregon pine, British Columbian Pine, Red Fir and even Douglastree; however, the U.S. Forest Service settled on Douglas fir some years ago. Douglas fir is North America's most plentiful softwood species, accounting for one fifth of the continent's total softwood reserves.

Moisture content and seasoning

As wood loses or gains moisture, it will shrink or swell until it reaches equilibrium with the constantly changing level of moisture in the air of its immediate environment. All lumber benefits from some degree of "seasoning," i.e. letting it adjust to the humidity conditions of its surrounding atmosphere before it is installed. Because of its cell structure, wood shrinks primarily in width and thickness and very little in length. Douglas fir is unique among all softwood species in that it is naturally dimensionally stable, having the ability to season well in position. .It does not crack/split due to exposure to sun but completely disintegrates when in contact with water or moisture continuously.

Finishing characteristics of Fir (budloo)

SoftwoodClosed-grainedColour: Reddish tan, creamy-lightFinishing characteristics: Fir is a difficult wood to finish well. Its summer wood is much denser than the spring wood. This makes it difficult to sand to a smooth, flat surface, because the softer parts of the grain sand away faster leaving the summer wood raised slightly above the rest of the surface. It is also difficult to get an even colour when staining. The spring wood absorbs a lot of stain, while the summer wood hardly absorbs any. This leads to a very pronounced grain pattern when dark stain is used. One of the best finishes for fir is either a pastel or pickled finish. With these finishes, the characteristics listed above can be used to advantage. For a pickled finish, wire-brush the wood to further accentuate the grain, and then apply a pastel stains. Use satin varnish as the top coat. If you want to stain fir a dark colour, treat the wood with wood conditioner first to help even out the colour.


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Walnut:

Walnut as tree is not only used for wood as a raw material but also gives fruits.A tree is only cut with permission from Forest department, which come through inspection and approval. Quality of wood is always at the buyer’s risk and his experience of selection.

Finishing characteristics of walnutHardwoodOpen-grained, semi-ring-porousColour: Heartwood dark brown; sapwood cream-coloredFinishing characteristics: Walnut is one of the easiest woods

to finish. It has a hard surface, and beautiful colour and grain. A clear penetrating oil finish is often the finish of choice for walnut. The natural colour of the wood is so desirable that many times other woods are stained in an attempt to duplicate the colour that is achieved by simply applying a clear finish to walnut. Because the wood is hard, it can be highly polished; sanding in penetrating oil with 600-grit sandpaper will result in a satin-smooth polished surface. A final buffing with wax can produce a higher gloss. Stain can be used to even out colour variations. In this case, choose a stain that closely matches the dark areas of the board.

When exposed to direct sunlight for many years, the natural colour of walnut tends to lighten. The resulting colour is pleasant. However, if you want to keep the original dark colour on a piece of furniture that will be exposed to direct sunlight, stain the wood before applying a top coat. Even though it is an open-grained wood, the pores are small enough to be usually left unfilled. Filler should be used if you will be applying a high-gloss finish or plan on rubbing the top coat. One of the smoothest finishes possible is produced when lacquer or rubbing varnish is applied then polished with rubbing compound.


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Pine:

Pine trees are widespread and grow in many types of soil and climates. Although pine trees originally were native to Europe and Asia, settlers introduced them to America also. The bark on a pine tree is smooth when the tree is young, but thickens and develops cracks as it ages. The thick bark of an older tree makes it resistant to weather and fire. A pine tree generally has greenish brown bark when it is young that darkens and hardens as the tree grows older.

Finishing characteristics of pineSoftwoodClosed-grainedColour: Light tan or amberFinishing characteristics: Pine absorbs a stain unevenly; apply a wood conditioner before the stain to even out the absorption. Pine can be stained light or dark, but it looks best with light- to-medium shades. It works well with pastel finishes. Its light color and smooth texture produce a pleasing effect when a pastel rubbing oil is used. Pine is often used to make Early American or "country" furniture. For these pieces, a distressed antique finish works well. Sand the wood smooth and round off sharp corners. Simulate the dents and gouges acquired over time by hitting the surface with a hard object such as a steel punch. For the top coat, either apply several coats of medium colour penetrating oil or stain the wood with a medium colour stain; then use orange shellac: or a light brown varnish stain. Finally, apply a dark wax. Use 0000 steel wool to rub in the wax and then buff the surface with a soft cloth.

Cedar (deodar)

Cedar is a lightweight and dimensionally stable wood that lies flat and stays straight, which means it resists the natural tendency to crack and check as you might find in many other wood species. Its distinct cell structure discourages moisture rot by allowing it to dry out faster than outdoor furniture made from tropical hardwoods. Its bacterial and fungal resistance coupled with the fact that Cedar is 80% the strength of Oak, makes it the most desirable wood to use for building outdoor furniture. The same structure that gives cedar its excellent insulating and sound suppressing qualities makes it a lightweight wood, easy to handle and craft for both the professional and do-it-yourselfer. Cedar is a pleasure to


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work with using either hand or machine tools. The wood can be cut, shaped, planed, sanded, nailed and glued easily. It is free of pitch and resin and it finishes to a richly glowing surface that can be enhanced with semi-transparent or full-bodied stains.

Finishing characteristics of cedar.

Colour: mostly red heart wood, thin whitish sapwood

Density: hard texture Grain: fine grain, very knotty-grain varies around knot

Machine ability: good

Finishing: We suggest using oil finishes that display natural colours.

Distinctive Characteristics: highly aromatic, natural resistance to insect damage.

Availability of wood and cost

The wood, mainly Budul which is used for this art is brought from forest department and other mandi’s.Forest department gives AKKCCU 3000 quintals of wood which last for 3 months and rest they have to buy from mandi’s.

Cost of wood:

Fir wood: Rs 150 to 750 per cubic feet.

Walnut wood: Rs 800 to 1000 per cubic feet.

Deodar wood: Rs 1500 to 3000 per cubic feet

.Tools used in Khatamband:

TRADITIONAL


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1. Cutting tools

Zamaber

letir

Tori

2. Planning tools

Meena randa

Kure-randa

Gutka randa

Ling randa

Tar-e-randa

3. Measuring tools

Kannat

Phat guz

Khoor hut

Khat khash

4. Carving tools

Partech woul(flat chisel)


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Pointed chisel

U-shaped chisel

Wooden mallet

Hammer

MODERN MACHINES

Chatun or cutting dil machine

Kurr diun or making side groove machine

Meena diun or making the top groove machine.

Leiter-e-khash duin or marking the borders machine.

Newrawun or thinning the edges to make the borders machine.


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Costing :analysis and interpretation

NAME OF THE DESIGN

AREA TO BE COVERED(SQUARE FEET)

RAW MATERIAL REQUIRED PER CUBIC FEET

COST PER CUBIC FEET(SUBSIDISED)

COST PER CUBIC FEET(PRIVATE)

TOTAL RAW MATERIAL COST INCURRED(SUBSIDISED)

TOTAL RAW MATERIAL COSTS INCURRED(NON SUBSIDISED) P

Energy costs(electricity)

CHEERUN COSTS(per CUBIC FEET)

Total cheerun costs

NUMBER OF ARTISANS (TAKEN FOR AVERAGE CALCULATIONS)

AVERAGE OUTPUT PER ARTISAN(SQUARE UNITS)

PAANCH MURABA

100 11 150 750 1650 8250 200 45 495 2 6

CHAAR PHUUL

100 13 150 750 1950 9750 200 45 585 2 6

Dawaza girid

100 13 150 750 1950 9750 200 45 585 2 6


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Hashkan chout

100 13 150 750 1950 9750 200 45 585 2 6

WORKING HOURS PER DAY AT THE UNIT

AVERAGE PER DAY ARTISAN RATE

TOTAL DAYS AT THE UNIT

INSTALLATION TIME IN DAYS

LABOUR COSTS FOR INSTALLATION

Total trans portation

TOTAL LABOUR COSTS

COST FOR NAKSHA(OPTIONAL)(haeshi risti)nakshi pouhal

TRANSPORTATION(ONE SIDE ONLY)ONE SIDE INCURRED BY THE NAKSHA WAALA

TOTAL COSTS(NON SUBSIDISED WITH NAKSHA)per square feet

TOTAL COSTS(NON SUBSIDISED WITHOUT NAKSHA)per square feet

TOTAL COSTS( SUBSIDISED WITH NAKSHA)per square feet

TOTAL COSTS(SUBSIDISED WITHOUT NAKSHA)per square feet

8 2OO 7 1 200 200 7x200x2+200=2800

87X2.50=217.5

100 124.625 110 58.625

55.45

8 200 7 2 400 200 7x200x2+400=3200

95X3.50=332.5

100 143.675 124.35

62.35 61.35

8 200 7 2 400 200 7x200x2+400=3200

126x8=1008 100 150.43 124.35

62.35 61.35


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8 200 7 2 400 200 7x200x2+400=3200

69x2.50=172.5

100 142.075 124.35

62.35 61.35

Costing at a glance:

Total number of units =200

Number of working days per year = 365

Total annual output: 6x200x5x365= 2190000 square feet

Total annual turnover: 2190000x170= 37, 23,00,000rs

Annual consumption of raw material (budul) =17520 cubic feet’s or 5840 quintals

Subsidized raw material (budul) sanctioned last year (2011) = 3000 quintals

Thus raw material procured last year from the open market (menzurs) =5840-3000 = 2840 quintals or 284000 cubic feets

Cost of subsidised raw material= 3000 * 450 = 13, 50,000rs

Cost of non-subsidised raw material= 2840 *750 = 21, 30,000rs

Total cost of raw material = 34, 80,000rs

paanch muraba:


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Most simple design and most commonly used as such the competition level is very high As such the margins are low Even semi skilled artisans can produce this design with ease

chaar phool:

Involves the same labour days as paanch muraba But the rates are more as it is a more complicated design than paanch muraba Involves more carving and as such leads to more wastage

dawaza girid:

One of the most complicated designs The master craftsman(woustakaar) has necessarily to be present at every stage Involves usage of 9 inch(width) which difficult to find even with menzurs(private dealers) As such costs more and the margins are more

hashkand chout:

This is the most rare and complicated design Very difficult to work on them Very high margins Very rarely used in private homes

Costing:interpretation


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It is clearly discernible from the costing pattern that although that the prices of various designs of khatamband vary from that of the lowest i.e “mouj”(rs 160 -180 per feet) to the highest of “barran taaz” ( rs 400 -450) but the costs are independent of the quantity of raw material or the number of man days(artisans) utilized for the said design…in fact the amount of raw material used and the number of artisans working on nearly all the designs of all the rates are the same..the price is wholly and solely dependent on the skill level required for a particular design which decreases from the woustakaar(master craftsmen) to that of the chaatibouj(ordinary artisans)….the more the involvement of the wostakaar(master craftsman) in the process of khatamband making, the more costlier the design would be. The price of the most commonly used designs like “paanch muraba” and “chaar phuul” is comparatively on the lower side because of the fact that these designs require minimal amount of skill level as such even semi skilled artisans find it easy to work with these designs….the competition level on the low end designs is very high due to the reason that maximum artisans work on these designs as such keeping the prices low while only a few skilled artisans(wouastakaars) who have a complete mastery over the whole craft can work on difficult and complex designs like “hazaar gardaan”and “baraan taaz”’.Some of the high end designs like “hashkand chotu” require 9 inch width wooden pieces that are very rare even with the “menzurs”(private suppliers).These high end designs are mostly used in government installations as such artisans often have to wait for their dues which they compensate by increasing the prices..The cost incurred by those unit holders(74) who are in a position to procure raw material at a subsidized rate are nearly half of those who are not in a position to do so(nearly 120).The cost of raw material has a lion’s share in the cost incurred by the artisans..In fact the raw material costs are nearly % while the labor costs amount to % ,the remaining being transportation ,electricity ,nakashi(optional) and other miscellaneous costs.. A strange feature of the pricing policy is that although the costs incurred by those artisans who do not get raw material on a government subsidy is nearly double to those who get it on subsidy but the price offered by all the artisans is the same as the non subsidized artisans have to remain relevant in the market.

Scope and target market of khatamband

Khatamband as a craft is one of the most under exposed and underutilized in spite of its huge scope and potential. The reason being that traditional artisans have always has had a monopoly over it and they have been reluctant to open this craft to “outsiders”. The reason can also be the fact that unlike other crafts khatamband is a turnkey job and involves a complex process of installation and the artisans involved in this craft being limited in number has not considered it economically feasible to travel to far off places to install it. Since khatamband is used mostly on the ceilings of houses and buildings as such the target market for khatamband are the new and upcoming middle class urban centers both within and outside the country….with the growing Indian middle class that is expected to be around 50 crore and with the rapid urbanization


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rate(27.81%in 2001 census to 31.16% in 2011 census) the potential for khatamband is ever increasing……The number of urban units in India in 2001 was 5161 which increased to 7935 in 2011 as such there was an increase of 2774 urban units in 2011….The urban population of our own state has increased by about 30% to 2crore 40 lakh,the urban population of Karnataka is 8 crore 30 lakh,that of kerala stands at 1crore 30 lakh and that of Tamil nadu at 9 crore 70 lakh .For the first time since independence ,the absolute increase in population is more in urban areas than in rural areas..

The target market for khatamband are the various coastal states of India whose climatic conditions are same as that of Kashmir as dry and very hot summers don’t suit this kind of craft like Karnataka , Tamil Nadu,kerala , pudicherry, himachal Pradesh,maharashtra etc...The upcoming urban centers like noida,gurgaon,Ghaziabad,faridabad with their state of art air conditioning facilities can also prove to the future market for this craft....The growth of urban metropolitan cities has also led to an increase in the interest of various interior design companies and a spiraling increase in their number..These companies offer solutions ranging from latest and trendy interiors to furniture and wood related crafts...

If we target only 15% of the urban households of India(I.e only 10% of the growing Indian middle class)…Assuming a family of five they will need at least 10lakh homes and if they install khatamband on less than two rooms i.e about 500 square feet..Our target market comes out at rs 150000000000(15 thousand crores)...this target market for khatamband is calculated if they use a lowest end design of khatamband.....

List of Practitioners with Scale of Manufacture:

There are only four (04) practitioners of Khatamband listed as per the Base line survey conducted by Handicraft Department in 2003. However,

the figures as per the J&K Khatamband Ceiling Carpenters union and as per our first hand information.


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1 2 3 4 50

500

1000

1500

2000

2500

yearNo of Khatamband artisans


Year 1981 1991 2001 2008 2011

No of

Khatamband artisans

170 200 250 319 1000

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Issues Related to Khatamband Artisans

1. Availability of raw materialThe trader manufacturers /unit holders complain about the ever shortage of raw material. According to them the state forestry department through its SFC depots distribute about 10 quintals of raw material per artisan through the All Kashmir Khatamband ceiling carpenters union. This raw material is distributed among the artisans usually during the month of December-January out of the fire wood reserved for hamams of Masjids and as such is of very low quality. Thus for about 10 months around the year the unit holders are left at the mercy of the private wood suppliers(menzurs) the govt rate for fir(budul) is 450rs per quintal while the private suppliers offer them the same for about 950rs per quintal. This according to them drastically increases their input costs that, in turn hit their margins and increase the cost of Khatamband. As such shrinking their markets!

2.3. Unit/plot of land

The unit holders complain of a step motherly treatment by various government agencies like the district industrial corporation (DIC) The unit holders demand that their industry be treated at par with the other industries of the state. Unit holders have been demanding units in industrial areas or a plot of land where they could take their unit to. Nearly all artisan traders run their units from their homes and as such their customers come to meet them. They are of view that their privacy gets disturbed as their family members including their womenfolk also roam around. Khatamband as an art involves a lot of labour and that too varied labour so lot of space is required. This would have resulted in more and more artisans being involved in this trade and would have been a source of sustainable development for a lot of unemployed youths of the valley.

4. Exploitation by middlemenThe unit holders allege that the traders or the contractors often exploit them and take government for granted .They often bid for high end designs in government institutions like barah taaz(450rs per feet) while install low end designs like pahel gardaan (160rs per feet) and mouj design(160rs per feet).They in turn pay 140rs per feet to artisans per day.

5. Problem caused by police and forest officials in the movement of Khatamband material


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Unit holders allege that the forest officials and J&K police often hampers the movement of their Khatamband related material (finished) on the pretext that the raw material used has been procured from the black market. They extract hefty bribe from the artisans/unit holders. According to the artisans this is the sole biggest reason that hampers the popularity of Khatamband outside Kashmir as artisans are always hesitant to move Khatamband related material not only outside but also within the city limits.

6. Non interest of various government agencies in taking this art to outside stateThe various government agencies entrusted with the marketing and creating awareness about the various arts and crafts of Kashmir like J&K Arts Emporium, KCCI, SIDCO, SICOP, JK handicrafts have shown no interest in the job assigned to them.

7. Taking industry to outside state and even outside the countryThe unit holders allege that the government is totally indifferent and it shows no interest towards the promotion of this art outside state. In this regard they put forward the fact that various agencies of the state assigned with this job don’t provide any assistance to the artisans and in fact create hurdles in the movement of this craft outside the state boundaries .Rarely are Khatamband artisans given kiosks at government sponsored expos outside the state. This is at a time when India has a middle class of about 50 million people and the real estate business in India is at an all time high.

8. Red-tapism in matters related to financing and other schemes

New unit holders and budding entrepreneurs in this field allege that timely finance is not available to them. Although the government in general and the JK bank in particular on paper do have some financial schemes like the Khatamband scheme but the paper work and other formalities like mortgage and a public servant as a guarantee are so stringent that artisans are rarely in a position to utilize their services.

9. No investments in new designs and new installation formulae


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There is such a huge demand for existing traditional products that the artisans rarely feel the need to experiment and try new designs. This may prove to be a big roadblock in the growth of this industry in future. The most complex process in the art of Khatamband is the installation process. It is the complexity of the installation process that has been the main hurdle in taking this craft to far of places. Unfortunately not enough time and money has been spent to simplify this process as this would have greatly promoted this craft.

10. Najar monopoly.

The najar family that brought this craft from bijbehada area of Kashmir about 70 years ago consider themselves as the divine custodians of this art. In fact till about the 1990’’s the najars had a virtual stranglehold over this craft. It was not due to any free will but owing to huge demand that the najars opened this craft slightly to others. Nearly all the office bearers of the all Kashmir ceiling carpenters union are najars and they have created barriers for others from entering this field. This has been the greatest impediment towards the flourishing of this craft like other handicrafts.

11. Ill-informed and un-informed artisans.

The artisans working in the various units of Khatamband are the most ill informed and un-informed in the whole handicraft sector of the state. They have no idea about the various handicraft related schemes and various insurance policies of the state and the centre. Rarely does an artisan possess an artisan card and when he does it, it mostly lies with the wousta (unit holder) or the union. In fact we have not come across any artisan possessing an artisan credit card. Not even a single artisan that we have interviewed is insured obviously due to lack of information in this regard.

12. Erratic power supply.

The power situation in the whole state of Jammu and Kashmir is grim. The valley in particular reels under power cuts frequently. This has proved to be a disaster for Khatamband industry particularly in this phase of transition as it is moving from a phase of hand driven to


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machine driven tools. In absence of power they either have to stop their work or to swap back to traditional tools which drastically decrease their productivity.

13. Judicial activismThe supreme court in 1996 (T .N. Godavaram vs. union of India) redefined the scope .Of the forest protection act 1980,suspended tree felling across the entire country and sought to radically reorient the licensing and functioning of forest based industries . In this process the court has gone far beyond its traditional role as the interpreter of law and assumed the roles of policy maker, law maker, and administrator. Till 1996, the forest protection act was assumed to apply to reserve forests .The Supreme Court said the act applied to all forests regardless of their legal status or ownership. It also redefined what constituted “non forest purposes” to include not just mining but also operation of sawmills. The Supreme Court has ordered all such non forestry activities anywhere in the country to cease immediately. The problem is compounded by the court’s misinterpretation of what constitutes ‘’non forest purposes” all over the world “forestry” includes logging. Saw-mills are an essential component of such forestry. To equate sawmills with mining, as the December 1996 order does,is really extreme. All this has created huge hurdles for new Khatamband unit holders as after 2001, the district industrial centre has refused to register new unit holders. The court should move towards closing down the Godavaram case and if necessary, invoke the constitutional duty of the state (under section 48A) to prepare comprehensive legislation for a more decentralized, locally sensitive and sustainable use oriented forest governance syste...


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Traders

TRADER ENTERPRISE NAME Phone numberShakeel Qalander Ess Que traders 9419018491Nissar ahmad Shora Metro Commercial

Corporation9419015729

Shahid shora Crown FurnituresMuhammad Amin Najar Amin Enterprises 9906633069Zahoor Ahmad Bhat Hind timber 9906682443Meraj Qureshi Miraj joinery mills 9419014799Ghulam Mohiudin Usmania furniture works 9419062910

Khatamband as compared to other handicrafts is unique and different in the sense that most of the unit holders or the wousta (master craftsmen) themselves directly deal with the customers with no or minimal interference from middle men. This happens to be true more so in case of private households that according to our findings account to about 90% of the total yearly turnover of the Khatamband industry as a whole. It is rather only in case of government projects (about 10% to 15%) of the total yearly turnover that middlemen in the form of traders or contractors are involved. These traders in turn employ artisans or unit holders to do the job. These contractors or traders are usually not only Khatamband specific traders but deal with wood related crafts in totality like interiors, furniture etc. The traders have shifted to this craft after sensing the windfall profits owing to huge margins and space manoeuvring in this field. Presently not many traders are involved in this craft as the demand from private sector exceeds that from the government sector. But the number of traders is increasing day by day as demand for Khatamband is far exceeding the supply. More and more traders are being attracted towards this fruitful and highly profitable adventure. Some of well known traders in this field are as follows:

Ess Que traders: Registered with district industrial centre in 1972, this unit is based in DIC baghe ali mardaan khan and has its head quarter based in alamgari bazaar, proprietor of this firm is Mr shakeel qalander. Ess Que traders are regarded as the forerunners in the field of Khatamband art in the state of j and k. According to Mr shakeel qalander who has also been president of the FCIK for 7 years “it was Ess Que traders who brought Khatamband back on the handicraft scene of Kashmir in the mid 1990’s by blending it with other items like gypsum, plaster of Paris (pop). According to Mr. shakeel qalander “it was Ess Que traders that reinvented the art of Khatamband in the state by introducing new concepts and reintroduction of traditional designs after the craft had nearly had nearly died down in the mid 1980’s’’. Regarding the type of


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design in the various government departments the designs are selected by a consultation group consisting of the architects, intending departments, and the contracting agency. Ess Que has worked on prestigious projects like charari shararisharief,khankahi moulla tral, khankahi moulla dastageer sahib. Further Mr qalander adds that we have about 200 people working for us presently with an annual turnover of around 1 crore. Mr qalander would have no problem if the government deals directly with the artisans without the interference of the middlemen at any stage. It has only been because of firms like Ess Que that various government departments are motivated to employ Khatamband in the various departments.

2. Mr Zahoor Ahmed Bhatt: (President Federation chamber of industries Kashmir and proprietor hind timber) (a unit whose methodology should be emulated). Registered with district industrial centre (DIC) in 1987, 20 people are working exclusively for Khatamband. Mr. Bhatt has a vision for Khatamband industry as a whole. He is working on plans to train about 1000 artisans per year from non artisan families for about 10 years. He intends to take this art out of the houses of the hereditary artisans to the outside world.”Take any false ceiling throughout the world and you will find no competition for Khatamband in the world” says Mr. Bhatt. mr zahoor ahmed bhat intends to take this craft to outside the state and even to export it to outside the country as well....

Issues faced by the traders:

1. Non recognition by the state government:

The craft of Khatamband has still not been recognised by the department of industry and commerce. Thus its real demand and scope is not easy to comprehend and as such traders are not in a position to plan in advance and strategise. The various government policies viz-a-vis Khatamband as compared to other wood based industries are vague and not clear. The import export policies, the taxation policy etc are still not clear and are open to wide range of interpretations.

2. Non availability raw materials:

Unlike the artisan manufacturers, the traders issue is not the cheap supply of raw material but the easy availability of raw material throughout the year. The only source for the traders are the auctions by the state forest corporation (SFC) conducted mostly in summers and that too when dried and fallen trees are available. The traders who get orders in bulk have to wait a lot of time for want of raw material (budul) as such their orders get delayed which results in huge business losses for them.

3. Scarcity of labour:


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The traditional Khatamband families of Kashmir have over the years kept this art close to their hearts keeping it only to themselves. It has been only in the recent years owing to the huge market demand that they have been forced to open up although in a limited way. Thus the skilled artisans available in this craft are very low as compared to other crafts. This scarcity of skilled labour has also hampered the growth of this craft and has in fact been a major roadblock in the growth of this industry. The traders are most often than not forced to take unskilled and semiskilled labour force and train them. This is a huge drain on the resources (capital and time) of the traders.

4. Geographical indicator (G.I):

Most of the traders that we interviewed are interested in the export of this craft to places outside the state and country. But due to lack of safety mechanism they don’t want to expose this craft to the outside world fearing that the same may be copied under a different label and a different brand name by countries like Iran, Pakistan and china. Thus a patent for this craft is utmost important for the development of this craft and taking this craft with huge market potential to the outside world.

5. Lacklustre attitude of the various state departments:

The various government agencies with a clear mandate for promotion of the various government departments often pass the buck to other departments and have done little or nothing for the promotion of this craft outside the state. A case in point is that of the j and k handicraft department, Jammu and Kashmir sales and Export Corporation limited and the school of design. These departments have done very little if anything for the promotion of this craft to outside state. The outlets of Jammu and Kashmir(S & E) corporation don’t carry Khatamband while the school of design don’t work on Khatamband under one pretext or other. The department of handicraft has not till date not done any research, study or a market survey to look out for the opportunities for this craft. No investor would like to invest in a market that is unsure and uncertain and there is no sure way of calculating the future returns on investments. The various government departments are in a mental frame of mind that the industry is in a great health and the artisans are earning huge profits and as such the industry needs no support from any quarter.

6. Vague government policies:


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The craft of Khatamband as an industry has for long been in the state of infancy even its native state of Jammu and Kashmir. The laws and procedures with regards to this craft are still not clear to the various stakeholders like the excise and custom department, federation chamber of industries Kashmir (fcik), the state forestry department, forest protection force (fpf). The various traders and exporters who have tried to take this craft outside the state are frequently harassed in the name of service tax as other as compared to other crafts it is a turnkey job and involves the process of installation.

BDS PROVIDERS AND BDS ANALYSIS:-

Business Development Services (BDS) have significant and positive contribution to the growth and health of the small-scale enterprises (SSE). Using professional business development services would help them to access better technology, finance and infrastructure and help the enterprises to manage their business more successfully and efficiently. Business Development Services (BDS) have significant and positive contribution to the growth and health of the small-scale enterprises (SSE). Using professional business development services would help them to


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access better technology, finance and infrastructure and help the enterprises to manage their business more successfully and efficiently. BDS providers of Pashmina are:-

I) Development Commissioner Handicrafts.

II) JK Handloom Department.

III) Arts Emporium.

IV) School of Design.

V) State Handicrafts Department.

VI) Craft Development Institute.

VII) KCCI.

VIII) DIC.

IX) Financial Institutions( Punjab National Bank,Canara Bank, State Bank of India)

X) ICICI.

XI) Weavers Service Centre.

Development Commissioner Handicrafts(DCH):-


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Development Commissioner (Handicrafts) Ministry of Textiles, Govt. of India extends various assistance through Apex/Primary Handicrafts Co-operatives/NGOs for development of Handicrafts Industries in the State. The different schemes implemented by development commissioner (Handicrafts) are highlighted

1. Baba Sahab Ambedkar Hastshilp Vikas yojna.

2. Design & Technology up-gradation scheme.

3. Marketing Support & Services Scheme.

4. Human Resources Development Scheme.

5. Handicrafts Artisan comprehensive Welfare Scheme.

6. Research & Development Scheme

All the Artisans who pass the artisan test get the Artisan Card through DCH

Baba Sahab Ambedkar Hastshilp Vikas Yojna:-

Diagnostic survey of the identified cluster is the prima-facie requirement for ascertaining the needs of specific interventions required for making the cluster self-sustainable.

Mobilization of the beneficiaries shall be undertaken in the clusters where diagnostic survey has been completed. This activity shall include mobilizing the community business enterprise. With introduction of economic reforms through liberalization, privatization and globalization, India has entered into a new era of economic development and therefore, Community Empowerment programme for handicrafts sector/Cooperative/SHGs is a must to empower the artisans by making them active entrepreneurs-cum-primary stake holders of development and brining them to a visible platform so as to enhance their operational efficiency and competitiveness to face the new challenges and make them viable and self supporting economic entity.

Design Technology and Upgradation Scheme:-


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Office of DC(Handicrafts) is implementing a HRD Scheme to provide qualified and trained workforce capable of Establishment and strong production base coupled with improvement quality and use of appropriate techniques, processes and innovative designs to meet the present market requirements.

Marketing support and Service Scheme:-

Registered Artisans get the Shops or Stalls in the Exhibition centres free of cost where they get an opportunity to buy their products.

Research and Development Scheme:-

Research and Development Scheme is a central sector scheme introduced in the year 1956-57 to generate feed back on Economic, social, aesthetic and promotional aspects of various crafts and artisans in the handicrafts sector

Handicrafts Artisan Comprehensive Welfare Scheme:-

Broadly welfare measure for the handicraft artisans are for the following

Janshree Bima Yojana under which an artisan can avail insurance coverage by paying an annual premium of Rs.40 only. The insurance cover is for natural death, accidental death , partial or complete disability. Besides a scholarships to two children for ensured artisans is also given @ Rs.300 per quarter per child for studing in class IXth to 12th.


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Rajiv Gandhi Shilpi Swasthya Bima Yojana which is health insurance scheme in which an artisan gets a medical cover of Rs.15,000 and a person accidental cover by paying annual premium of just Rs.200/-. However if the artisan belongs to SC/ST/BPL/NER, his/her annual contribution is just Rs.100/-. The details of this scheme is available on website : handicrafts.nic.in

Only those Artisans avail the benefits of DCH who are registered in DCH.

Criteria of Registration:-

Artisans are registered by two ways either directly or through NGO’s .Those Artisans who are directly registered through DCH have to fill a simple form free of cost and submit two photographs and have to pass a simple Artisan test and one who pass from this test get the Artisan Card within a week.

Those Artisans who approach to NGO’s for Artisan Card has to fulfill all the formalities of Ngo and those NGO’s forward their forms to DCH. Though it is not possible for DCH to test the bulk of Artisans at a same time they forward these cases to central Office and then Central Office in collaboration with NGO’s provide Cards to those Artisans. It is time consuming process and take months.

School of Design:-

Design is of basic importance in any production, for it is the designs that give identity to the object. Its significance lies in the fact that it is the projection of creative urge of human being.

Kashmir which has one of the richest craft traditions, had kept alive its crafts largely as a tourist trade, the same designs had more or less been continued decade after decade with very little variations. There was very little variety from one craftsman to another. In order to give more color and life to the designs of Kashmir Handicrafts a design unit called School of Designs was established in late fifty's. Lot of creations of new designs and reorientation of old designs and articles had to be made to catch the market so as to give boost to the industry.


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School of Design Srinagar:-

It is a design production centre where there are readymade facility of new designs for Artisans associated with various crafts. The School of Design was established in 1957. Their main task is to make new designs for various crafts like paper machie, khatamband,tapestry, shawl weaving etc. and make people aware about the new designs so that they can compete at a global level. For this purpose they make new innovative designs and provide its dummy to Artisans and there is no fees for Artisans to learn these new designs.

This process involves certain steps:

i) The designer made a new design, while making a new design he keeps this thing in a view whether it is possible to make a product with this design in a particular craft or not.

ii) Then the Design is sent to Designer School’s workshop where design get the practical shape.

iii) Then They invite Artisans of particular craft and provide them verbal technical Knowledge

School of Design works in collaboration with EDI. Groups from EDI occasionally came there to learn new designs. They also participate in Exhibitions and National and International Trade Fairs to show people their new innovative design

Craft Development Institute (CDI)

CDI, Srinagar is an autonomous Institute established by the office of DC-Handicrafts, Ministry of Textiles, Government of India and the Department of Industries & Commerce (Directorate of Handicrafts), Government of Jammu & Kashmir. Established in February 2004. CDI brings together various stakeholders, individuals and agencies working in the sector to co-partner in implementing a sustainable development process. By providing a forum for creative exchange and knowledge creation across design, management and technology, CDI endeavours to create new avenues for innovation and entrepreneurship in handicrafts.

Arts Emporium:-


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The Government of Jammu and Kashmir had established Arts Emporiums at various places to provide market cover to the handicraft items manufactured by the artisans and Craft persons of the State and subsequently the management and administration of these sales outlets was entrusted to Jammu and Kashmir Industries Limited. However, Jammu and Kashmir (S&E) Corporation limited was incorporated as fully owned Govt. Company under the companies Act of 1956 on 6th of June 1970 with an Authorized Capital of Rs.2 crores subsequently enhanced to Rs.8.00 crores and all these emporiums were transferred to it for their management and administration

Objectives

i) To run, manage and administer the Kashmir Government Arts emporium or any other State Undertaking as may be notified by the Government from time to time, in a manner as would ensure their efficient, economical and better management and operation.

ii) To undertake sale in India and export of handicrafts, handloom products, Khadi and products of village industries and other products produced and manufactured in the State of Jammu and Kashmir as supplement to private voluntary effort.

iii) To open publicity-cum-information centres. Showrooms, sale depots and warehouses at suitable places in foreign countries.

iv) To organize production through co-operatives, artisans or its own production centres.

v) To make available technical, financial and other assistance to co-operatives, producers, small traders and their associations, to procure and supply raw materials, tools and equipments, trained artisans to set up common facility centres and to establish a system of inspection and quality control.

Kashmir Chamber of Commerce and Industry (KCCI):-

The Kashmir Chamber of Commerce and industry has been constituted in the year 1924 of by the prominent businessmen of Kashmir and its memorandum and the articles of association have been sectioned by his highness in year 1935. The KCC&I was incorporated in the year 1937 as non-profit organisation. The major objective of KCCI is to promote business, trade and economic relations. KCCI promotes bilateral trade, investment and technology transfer, facilitates business collaborations, joint ventures, marketing tie-ups and strategic alliances through a set of


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proactive business-oriented initiatives. The Chamber continuously interacts with the Indian Governments, and provides them feedback on bilateral issues relating to trade and investment. According to the President of KCC&I Mr. Abdul Hamid Punjabi, “we are initiating a proposal to uplift living condition as well as earning condition of artisans”. As per this proposal an artisan will be provided a flat with all possible present living facilities and working unit. However the artisans have to produce for the chamber on pre decided labour charges. Proposed site for the project has been selected as HMT Srinagar where 300 kanals of land is available.

Directorate of Industries and Commerce(DIC):-

The Department of Industries and Commerce acts as a catalyst for the overall development of the industrial sector through effective discharge of developmental and facilitation roles. With a view to promote investment and trade, the Department formulates and implements the Policies of the State, Identification of Sectoral Advantages of the State and Human resource development for sustainable and growth-oriented industrialization has been a crucial role of the Department. Facilitating the take off of infrastructure projects that boost the industrial growth has also been the Department’s forte. The Department helps enhance the competitiveness of domestic industry through modernization, technology upgradatio n and adoption of best practices. It also provides a forum for entrepreneurs and industrialists through their associations to represent their needs to the Government, which translates into Policies of the State.

Major Functions Of Directorate Of Industries & Commerce Jammu/Kashmir :-

Promotion and Development of Industries.

Planning & Development of Industrial Estates


http://www.kctu.kar.nic.in/

http://www.kctu.kar.nic.in/

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Registration of New Units

Nodal Agency for implementation of Central & State Package of Incentives.

Holding of Industrial Exhibitions and Buyer - Seller Meets.

Rehabilitation of Sick units.

Coordinating Ministries Industrial activities with SIDCO, SICOP & G.O.I’S

Registration of Societies under J&K Registration of Societies Act.

Registration of Firms under J&K Partnership Act

Financial Institutions:-

State Bank of India:-

The Bank is actively involved since 1973 in non-profit activity called Community Services Banking. All the branches and administrative offices throughout the country sponsor and participate in large number of welfare activities and social causes.

SME Products:

State Bank of India has been playing a vital role in the development of small scale industries since 1956. The Bank has developed a wide array of products to meet the changing needs of the industry. It provides end -to -end solutions for the financial needs of the industry. To service the specific credit needs of small and medium enterprise (SME) the Bank established the Small & Medium Enterprise business unit in 2004.

Apart from the general working capital requirements (like Cash credit, Bill Discounting limits, LC, BG etc) to meet the day to day requirements and term loans to take care of investment needs for acquiring fixed assets, Bank has an array of products/schemes to cater


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to the enterprise specific requirements of SME Units both in Manufacturing and Trade and services sectors. Brief details of some of the schemes are as under:

ICICI:-

ICICI Lombard General Insurance Company Limited is a joint venture between ICICI Bank Limited and the US-based $26 billion Fairfax Financial Holdings Limited. ICICI Bank is India's second largest bank; while Fairfax Financial Holdings is a diversified financial corporate engaged in general insurance, reinsurance, insurance claims management and investment management.ICICI Lombard GIC Ltd. is the largest private sector general insurance company in India with a Gross Written Premium (GWP) of 36,948 million for the year ended March 31, 2010. The company issued over 44 Lakh policies and settled over 62 Lakh claims and has a claim disposal ratio of 96% (percentage of claims settled against claims reported) as on March 31, 2010.

Artisans get the health benefit plan of ICICI

Health Insurance Plans :-

1)Family Floater Health Insurance - It offers the best of both world’s by taking care of family’s health while helping you save on your taxable income.

2) Health Advantage Plus – It is a specially planned health insurance product to help you get maximum savings on your tax while comprehensively covering your health.

3) Personal Accident Insurance - ICICI Lombard Individual Personal Accident Insurance policy covers you against Accidental Death and Permanent Total Disablement (PTD).This includes coverage against terrorism and acts of terrorism.

4) Critical Care - Critical Care insurance is a pure benefit policy. Though the premium is payable in Indian Rupees, the coverage offered is worldwide.


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CANARA BANK:-

Canara bank provides loan to the artisans. The criteria fo issuing loans to the Artisans for issuing loan to the artisans is that first the Jammu And Kashmir Handicrafts department forwards the cases of those Artisans who wants to apply for loan .The Canara bank than issues than passes the loan of Artisan at an interest rate of 14% on which 5% subsidy is provided by the Handicrafts department and rate of return is 60 months.Bank provides loan of 50 thousand maximum to indiual borrower and 5 lakh per group

Insurance scheme of canara bank:

Joint liability group- In joint liability group of people minimum of 10 artisans avail this scheme. Criteria for availing this scheme is that these works under the guidance of NGO for 6 months . NGO keeps an eye on them how they work and after 6 months Ngo forwards their cases to concerned department then department forwards their cases to bank which in turn forwads it to LIC .Bank provides 50% premium on Insurance schemes and 50% is provided by the Artisan.

Punjab National Bank:-

Punjab National Bank provide various schemes for Artisans. They held Awareness Camps so that the Artisans came to know about the various schemes . In oct 22 2011 they held awareness camp at Hotel Management Rajbagh.

Schemes of PNB for the artisans:-

Artisan Credit Card:- Artisans can get the credit from PNB upto 30’000 and there is no need of guarantor and they have a period of 60 months with an interest rate of 25% on which they get a subsidy of 11.25% from various Departments of Governments. From the past two years PNB has issued 100 Credit cards.

Loan Facility:- The various Loan facilities provided by PNB

1)For single borrower:- A bank provides Loan


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2) For a Unit Holder:- They provide 3.80 lac per unit on which 1 lac subsidy is provided by the central government. The rebate period is 60 months. The subsidy of 1 lac that is provided to the borrower is kept in the form of FDR for 3 years at 0% interest with the bank and after three years the borrower can get the cash of 1 lac.

From the past two years(2009-2011) the bank has cleared 200 cases of Loan to the Artisans.From which there are 5-10 cases of State Handloom

CDI

CDI, Srinagar is an autonomous Institute established by the office of DC-Handicrafts, Ministry of Textiles, Government of India and the Department of Industries & Commerce (Directorate of Handicrafts), Government of Jammu & Kashmir. Established in February 2004 CDI brings together various stakeholders, individuals and agencies working in the sector to co-partner in implementing a sustainable development process. By providing a forum for creative exchange and knowledge creation across design, management and technology, CDI endeavours to create new avenues for innovation and entrepreneurship in handicrafts.

KCCI

The Kashmir Chamber of Commerce and industry has been constituted in the year 1924 of by the prominent businessmen of Kashmir and its memorandum and the articles of association have been sectioned by his highness in year 1935. The KCC&I was incorporated in the year 1937 as non-profit organisation. The major objective of KCCI is to promote business, trade and economic relations. KCCI promotes bilateral trade, investment and technology transfer, facilitates business collaborations, joint ventures, marketing tie-ups and strategic alliances through a set of proactive business-oriented initiatives. The Chamber continuously interacts with the Indian Governments, and provides them feedback on bilateral issues relating to trade and investment. According to the President of KCC&I Mr. Abdul Hamid Punjabi, “we are initiating a proposal to uplift living condition as well as earning condition of artisans”. As per this proposal an artisan will be provided a flat with all possible present living facilities and working unit. However the artisans have to produce for the chamber on pre decided labour charges. Proposed site for the project has been selected as HMT Srinagar where 300 kanals of land is available. Khatamband craft is not yet registered with KCCI.


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J&K BANK FINANCE SCHEME FOR KHATAMBAND

This scheme aims to provide adequate & timely credit for comprehensive requirements of the Khatamband Craftsmen. Working Capital finance is in the nature of Cash Credit facility on revolving basis. The total credit should not exceed 1, 00,000/- per Unit. The amount of loan shall be as per the estimate of cost per head/month (Annexure-1). A Khatamband unit is comprised of at least 4 craftsmen. Third party guarantee of two persons, preferably fellow unit-holders as collateral is needed. 0.05% of the amount sanctioned with a minimum cap of 25/- to be paid up front. The documentation process has been kept simple. The prospective borrowers have to only submit their identity proofs to avail this facility . The limit under the scheme shall be reviewed annually and revised/ cancelled /enhanced depending on the performance of the borrower.

KASHMIR SMALL SCALE INDUSTRIES ASSOCIATION (KSSIA)

Established in 1974 kssia is a registered union of all small scale unit owners of Kashmir. It is based in baghe ali mardan khan. Most of the traders dealing with Khatamband are associated with this union. Mr Syed fazal-ill-ahi (proprietor shahdab enterprises) is the president of this union while Ghulam mohiuddin najar is the general secretary.Both of them are associated with Khatamband as traders. The biggest roadblock according to KSSIA officials is the segregation of the artisans and the unit holders. The union is very keen on cluster development as this would aggregate the artisans and according to them would result in increased productivity as the current productivity is not enough to meet the demands of the market. This will also result in more production as more technology and latest machinery could be introduced as clusters could result in more systematic production. Artisans according to them lack knowledge and exposure to the outside markets. According to the president of the KSSIA ,Mr. fazal-ill-illahi their is huge demand for Khatamband outside the state but due to low productivity owing to less number of artisans in this field that the demand can’t be fulfilled.

FOREST PROTECTION FORCE:


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Raised in 1996 to safeguard and protect forest property, it is specialized in forestry and policing operations, and functions under the provision of FPF Act of 2001.Include road patrolling, Nakkas on strategic routes, off road jungle patrolling in vulnerable forest areas, intelligence gathering on forest offences through Jungle observation posts. It is operating through 18 field units.

Annual performance 2008-09:

0.33lakh Cubic feet of timber and 109 numbers of Horses/ ponies and 14 vehicles were seized. 495 forest offences were registered, 2700kanals of area was saved against fire and 70kanals of encroachment land was evicted.

JAMMU AND KASHMIR SMALL SCALE INDUSTRIES DEVELOPMENT CORPORATION (SICOP):

Incorporated on November 28, I975 as a fully owned J&K Government Undertaking under the Indian Companies Act 1956, J&K SMALL SCALE INDUSTRIES DEVELOPMENT CORPORATION LIMITED (SICOP) was set up with authorized share capital of Rs.500 lac and paid up capital of Rs 311.85 lac with the objective to promote and develop the Small Scale Industries in the State of Jammu & Kashmir. The basic aim of sicop is to provide marketing support to SSI units. The Marketing of end products of SSI units is major activity being perused by the Corporation to ensure uniform and sustained growth of SSI sector in the State. The Govt. of J&K under its Industrial Policy allowed number of incentives to the SSI units which among others includes reservation of some items for exclusive purchase from local SSI units through SICOP by the Govt. Khatamband as an industry has still not been recognised by the state government which is a shame. The current ambiguity surrounding the status of this craft has been exploited by government order suppliers who provide it to various government departments along with furniture and joinery without any tendering process. The traders in turn sublet these orders to unit holders as they themselves don’t have the capacity to cater to such a huge demand. As of now Khatamband is not mandatory for various departments, a situation that has been exploited by middlemen at the cost of the real artisans in this field. Currently only only 2or 3 Khatamband unit holders are registered with sicop.

STATE FOREST DEPARTMENT:

State Forest Department came into existence in the State of Jammu and Kashmir in 1881 when J. C. Mc. Donald was appointed the first ever Conservator of Forests of the state. He started the process of consolidation and demarcation of forests. In 1923, H. L. Wright was appointed as the first Chief Conservator of Forests. Scientific forest management and reorganization of Forest Department took place during this period and all forests of the state were brought under the purview of working plans. The state Forest Department Provides Raw material (budal) to the


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Khatamband Artisans through AKCCU A union comprising of 77 registered unions, that in turn distributes this raw material amongst its registered unit holders according to number of registered artisans per unit.

Issues Related to BDS Providers:

1. Non recognition as an industry and not treatment at par with other crafts:

The various BDS providers and stake holders of the state government like the department of industry and commerce, department of handicrafts, J&K Arts Emporium, Development Commissioner (Handicrafts), Kashmir chamber of commerce and industry (KCCI), Federation Chamber of Commerce and Industry (FCIK) have not recognised Khatamband as a separate industry as such policies and laws with regards to this craft have not been accordingly..... The state handicraft has training centres for 32 crafts in the state but Khatamband is not amongst them.

The various market providing agencies of the state like the state handicraft (S&E), School of Design, KCCI have a lacklustre attitude towards this craft. These agencies have done nothing to promote this craft within and outside the state.

2. Negligence by the primary market providers (J&K handicrafts(S&E), SICOP, KCCI):

The primary market providers of the state like Jammu and Kashmir small scale industries development corporation (SICOP), KCCI and J&K handicrafts(S&E) are totally indifferent and in fact callous towards this craft. Various government agencies have no exact data regarding the scope and market opportunities of this craft for the simple reason that no government agency has till conducted any study on this craft. The registered unit holders are not provided units in industrial areas and in case they are provided, it is in far flung areas like sopore and pulwama that are hundreds of kilometres away from the cluster. Moreover only one unit of Khatamband is registered with sicop as such they can’t work on government contracts directly.

In addition to this Khatamband has not yet received the status of a proper industry as such traders working on government contracts juxtapose Khatamband with other furniture and other wood based interior decorations.

3. Vague policies of sales tax department:


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The taxation laws with regards to the Khatamband industry are vague and open to multiple interpretations. The handicraft industry in Kashmir is exempted from any tax. Khatamband industry as such should also be exempted from any tax. The traders and artisans who have in the past tried to take this industry to outside state often complain that they are being harassed by tax authorities as according to them Khatamband is no doubt a craft and exempted from any tax but installation of Khatamband is a service as such liable to service tax at 7% rate. This happens even when there is a Supreme Court ruling according to which handicrafts that involve turnkey jobs are exempted from any kind of tax.

4. Hassles with regards to raw material provider (state forestry department):

The state forestry department that is the primary raw material provider for about 74 unit holders registered with ‘’all Kashmir Khatamband ceiling carpenters union’’ on a subsidized rate of rs450 per cubic feet complain of hassles in the said government. The same cost of budul escalates up to rs750 per cubic feet due to various overhead costs. The subsidised budul is not available to all unit holders but to 74 of about 200 unit holders.

5. Confusion and redundancy with regards to registration of artisans and unit holders

There are various agencies (both government and non government agencies) that are involved in the registration of artisans under one or the other scheme of the state or the central government that has caused great confusion among all the stake holders of industry and the various researchers in this field. Different agencies like DCH, state handicraft, KCCI, DIC, CDI, FCIK have their own figures of the artisans and the unit holders involved which is problematic for the implementation of the various schemes of the state and the central government.e


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.

SWOT ANALYSIS :


FUNCTIONS SCHEMES ISSUES SUGGESTIONS

STATE HANDICRAFTS J&K

• Artisans Registration;

• Unit Registration ;

• Export licence;

• Trade Act Registration;

• Awareness Programmes regarding the opportunities available for Artisans;

• organising marketing events at local, national and International level;

• Organising seminars, workshops for Artisans development regarding business avenues and other aspects with entrepreneur development.

• Provides Training both Elementary and advanced

Artisans Finance,

Artisans insurance

Microcredit plan

Artisan credit card

Baba Saheb Ambedkar Hastshilp VikasY o j a n a

Bima Yojana for Handicrafts

Artisans so far

Increase in no. Of defaulters towards finance.

Redundancy in artisan registration

Artisans reluctant to come forward to avail the facilities.

Sector needs to be organised

Raw Material Bank (CFC) should be provided for a cluster.

Development Design and In addition to Artisans

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1. Strengths

Highly skill driven Natural designs Huge local demand as economic level of Jammu and Kashmir is growing at a fast pace. It provides wide variety of designs in each product

2. Weakness

Restricted to few families Turnkey job as such complex installation process Dependent on forest produce and the world is going more and more environmental conscious Fire Prone Industry lacks communication and information. Lack of co-ordination between manufacturer-traders and Government. Inadequate information available on new technology No promotional support is given to the sector

3. Opportunity

The industry has potential in national as well as international markets. Growing Indian middle class(50crore) and changing lifestyles offer huge requirements of such products Introduction of more and more machinery as such more and more production possible..

4. Threats

Recent supreme court ruling banning forest related activities


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Gypsum and pop tiles that are easy to install and cheap Easy and cheap Alternatives.

Suggested interventions

1.common fecilitation centre for training and development

As the number of artisans in this trade are few and the traditional artisans are reluctant to pass this art to the outsider training centres should be established to teach this craft..industrial training institutes (ITI”s) should also start short term courses as they do with other crafts to increase the number of artisans in this craft.skill enhancement for semi skilled artisans so that they learn high end designs should also take place.

2.raw material rationalisation

Raw material should be made available to the artisans hassle free through the state forestry department..in this case either subsidy should be totally abolished or given to all registered artisans..even raw material given to religious institutions should be made available to the artisans.

3.treatment at par with other craftsThe various government as well as non government agencies should treat khatamband at par with other crafts..as such marketing and distribution chanells available to other crafts should also be made available to khatamband.

4.single window registration process

The registration process for khatamband artisans is very confusing and combursome as various state and central agencies are involved in the process of khatamband registration causing a great deal of confusion among all the stake holders..only one agency should be involved in this process that does so speedily and hasslefree.

5.allotment of units close to the cluster


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The artisans who show interest in industrial units should be allotted units close to eid gah cluster as most of the artisans engaged in this trade come from this area...

6.Tie ups with outside interior design phirms

Inorder to capture the huge potential markets outside the state the various government and non government agencies should actively promote this craft outside the by tie ups with interior design phirms outside the state in places like bangaluru,chenai,kerala e.t.c...

7.open bidding for khatamband in government contracts through sicop

8.clear taxation policies

9.no undue harassment by forest officials

10.


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REFERENCES

1. Sofi. G.M.D, Kashir, Capital Publishing House, Reprinted 1996.2. Sharma, Brijendra Nath, Social and Cultural History of Northern India, Abhinav Publications, © 1972.3. Abdul Ahad, Kashmir to Frankfurt, Rima Publishing © 1987.4.. Haji Mukhtar Shah, Risalahdar Fane Shalbaafi, 1st Published. 5. Shah-i-Hamdan Mir Sayyid Ali Hamdani, Kanishka Publishers © 2003.6. Mohibbul Hassan, Kashmir Under the Sultans, Gulshan Publishers © 2002.7. Ibid.8. Abdul Ahad (Ref. as above).9. Gulabnama, (written by Diwan Kriparam), Gulshan Publishers © 2002.10. Ibid.11. Ibid.12. Ibid.13. Sofi G.M.D (Ref. above)15. Lawrence Walter, The Valley of Kashmir, Kesar Publishers Reprinted 1967.16. Desopadesa and Narmamela by Kshemindra, printed by Aryabhusha press, poona,17. Abdul Ahad, Kashmir to Frankfurt, Rima Publishing © 1987.18. Kashmir Under Sultans b y Mohibbul Hassan, Gulshan Pub. © 200319. Kashir by G.M.D Sofi20. Citation from Abdul Ahad: Cit. above 21Shahi -i- Hamedan Mir Saiyid Ali Hamedani; His Life and Works, S.M.Waseem, Kanishka Publication, New Delhi © 2003.21 Ibid.

22. Kashir, Being A History Of Kashmir, G.M.D Sofi, Capital Publishing, New Delhi, Reprint 1996.23. Ibid.24. Shahi-i-Hamedan (Ref. above)25. Ain- i- Akbari Quated by G.M.D Sofi in Kashir. 26. Ain-i- Akbari (Ref. above).

27. Ibid.


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28. Concluded from interview with Craft persons and traders.

The registration of individual Artisans and unit holder in Khatamband available since 2000 till 12/1/2012 in respect of district Srinagar:

S.No

Craft Total No. Of Registered Artisans

Total No. of Registered

Units Holders

Total No. of Unregistered

Artisans

Total No. of Unregistered Unit Holders

01 Khatamband 16 03 514

Total No. of Artisans engaged with these Crafts at State Level.

Khatamband 310+220 = 530

Number of Units Registered through Directorate of Industries & Commerce

S.No

Name and address

Reg. No. and date

Item of manufacture

Annual Capacit

y

Annual producti

on

Investment Plant & Mach.

Total Employ

ment

Date of Production

1 Care Khatamba

07/09/06109/PMT/Tiny

Khatamband 5.00 4.00 0.15 4 2002


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nd Kanthparistan, Safa Kadal, Srinagr

dated; 01.07.2002

2 Good Luck Khatamband & Wooden Furniture, Rathpora, Iddagh, srinagr

01/03/06477/PMT/Tiny dated; 08.03.2004

Mfg. of Khatamband-d & Wooden Furniture

2.00 1.50 0.37 7 05.02.2004

3 Myna Khatamband Ceiling Industries Ganderpora, Iddgah.

01/03/7019/PMT/Tiny dated; 08.03.2006

Mfg. of Wooden Khatamband by H/t

18.00 12.00 0.80 5 08.06.1994

4 G.R. Khatamband Soura, Srinagar

01/03/7026/PMT/Tiny dated; 13.03.2006

Mfg. of Khatamband Ceiling by H/T

5.00 1.00 2.00 2 20.09.2001

5 Ab. Rashid Peer Laigari Doori, Iddgah Srinagar

01/03/7073/PMT/Tiny dated; 28.04.2006

Wooden Khatamband ceiling with the help of small surface planner & by hand tools

15.00 8.00 0.40 3 06.12.2002

6 National 01/03/7121/ Wooden 12.00 4.00 0.35 3 06.03.1999


128

Khatamband Madina Pora Bahgi sunder payeen Chattabal, Srinagar

PMT/Tiny dated; 08.07.2006

Khatamband ceiling with the help of small surface planner & by hand tools

7 National Khardi Works Safa Kadal, Srinagar

07/09/03709/PMT/SSI dated; 04.12.1989

Khatamband Ceiling

3.00 2.00 0.10 6 17.06.1987

8 Bismillah Khatamband Iqra Lane Aalimasjid Iddgah, Sgr

01/03/07407/PMT/MSME(Micro) dated; 14.08.2007

Manufacturing of Khatamband ceiling

8.00 5.00 0.20 4 21.04.2007

9 Khan Khatamband Ceiling & Joinery Dana Mazar Safa Kadal, Srinagar


Khatamband Ceiling & Joinery items by hand tools with the help of small surface planner

5.00 3.50 0.30 5 5.111991

10 Golden Arts Dana

01/03/07499/PMT/

Khatamband & Ceilings walnut

5.00 3.75 0.20 2 05.11.2007


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Mazar, Bangar Mohalla, Safa Kadal Srinagar

MSME(Micro) dated; 13.02.2008

wooden furniture & wooden Joinery items with the help of small surface planner and hand tools

11 Abu Baker Khatamband Ceiling Industry Rath-pora Idd Gah, Sgr.


Khatamband Ceiling

6.00 5.75 0.30 5 10.06.2005

12 Star Khatam Band Ceeling Nowshera, Srinagar


Khatamband Ceiling

8.00 5.00 0.50 4 29.02.2008

13 Valley Khatam Band Ceiling Bagisunder payeen Chattabal, Srinagar


Wooden Khatamband Ceiling

7.00 4.50 0.30 4 10.11.2002

14 Muzaffar Enterprises Safa

01/03/07570/PMT/MSME (Micro) dated:

Wooden Khatamband ceilings with the

6.00 4.00 0.30 7 31.03.2008


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Kadal, Srinagar

09-04-2008 help of small thickness planner and hand tools

15 Alamdar Khatamband Ceilling works Ganderpora Eidgah Srinagar

01/03/07667/PMT/MSME (Micro) dated; 05-02-2009

Khatamband Ceiling

12.00 7.00 0.30 4 24.07.1999

16 Green Channel Industries, Naid Booni Rainawari, Srinagar

01/03/07802/PMT/MSME dated; 04.04.2009

Wooden Jallies (Pintara Kani) Khatamband and ceiling wooden panelling, wooden booths only) by hand tools

15.00 3.00 0.60 6 20.04.2009

17 New Wood Art Khatamband Ceilling Wanganpora Idd Gah Srinagar

01/03/07851/PMT/MSME dated; 01.08.2009

Wooden Khatamband Ceiling by hand tools

7.50 5.30 0.30 4 14.07.2009

18 Waseem Wood

01/03/07928/PMT/MSME

Mfg. of Wooden ceiling

3.00 2.00 0.30 07.11.2009


131

Products Parimpora Qamarwari Srinagar

dated; (Khatamband )

19 M.T Khatamband Palyar bal Safakadal, Srinagar

01/03/07934/PMT/MSME dated; 12.12.2009

Wooden Khatamband Ceiling of Profiles out of sawn Material

7.50 4.10 0.25 5 06.11.2009

20 Kashmir Arts Tangbagh Iddgah Ganderpora, Sgr

01/03/08036/PMT/MSME dated; 24.02.2010

Ceiling tiles Khatamband Wooden Joinery/ furniture items by hand tools

4.00 2.90 0.30 4 10.05.1995

21 AGB and Sons Dana Mazar Safakadal, Srinagar

01/03/08068/PMT/MSME dated:- 03.04.2010

Mfg. of Wooden Tile Ceiling (Khatamband) with the help of Mini Surface Planner and Hand Tools

5.00 3.00 5.29 4 28.07.2001

22 Gh. Qadir Najar Lal Baza, Srinagar

07/09/03608/PMT/SSI dated; 26.05.1989

Khatamband Ceiling

20.00 15.00 0.35 5 20.07.1983

23 Kashmir Khatamband Celing, Ganderpor

07/09/06158/PMT/Tiny dated; 21.11.2002

Wooden furniture & Joinery by Hand tools

3.50 3.00 0.19 6 10.05.2002


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a, Iddgah, Srinagar

24 Kashmir Standard Arts Akhoon Sahib, Srinagar

01/03/06301/PMT/Tiny dated; 15.04.2003

Wooden Jallies/ Khatamband Ceiling

4.00 3.10 0.60 4 03.03.2003

25 Ab. Ahad & Sons Noor Bagh, Safakadal, Srinagar

01/03/06573/PMT/Tiny dated; 24.05.2004

Mfg. of Wooden Khatamband Ceiling

2.10 1.50 1.50 4 27.02.1992

26 Arfa Iddagh Gabderpora, Srinagar

01/03/6998/PMT/Tiny dated; 27.02.2006

Mfg. of Khatamband Ceiling

2.00 3.00 0.40 3 15.12.1998

27 Kharadi Khatamband Ceiling Wanganpora Iddagh, Srinagar

01/03/7056/PMT/Tiny dated; 23.03.2006

Wooden furniture & Joiney

2.00 1.00 0.04 3 12.07.1989


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Documents

prevent heat

forest protection

mir ali hamadani

facilitates

cultural resource

mr shakeel

najars chans

abdul hamid