“This art is like a pearl in our hands. Hazrat Ameer Kabeer (RA) brought this art to Kashmir from Turkey, bringing experts from Persia, Turkey, Iran, and Egypt. While there is still high demand for this art, unfortunately, it is dying because young people are not interested in learning it. The training centres are disappearing, and this once-beautiful art is in its final stages due to a lack of interest.”
Sheikh Mustafa
Ghulam Nabi Zargar, a septuagenarian from Khanyar, Srinagar, possesses nimble fingers and an eye for detail that belies his age. For over five decades, he has been practicing the art of wood carving, locally known as “Kareghar.”
Recently, he unveiled his masterpiece a meticulously carved wooden table that intricately portrays the plight of Dal Lake and the history of the Amaranth cave shrine, providing a glimpse into his unparalleled craftsmanship and half a century of experience.
His recent exhibition at the Arts Emporium culminated in years of dedication, skill, and an unwavering commitment to preserving a craft that has been integral to Kashmir’s cultural identity for centuries.
Early Days
Ghulam Nabi Zargar recalls, “I was a 14 or 15-year-old schoolboy when my father’s friendship with local artisans sparked my interest in their craft. Interestingly, this art form was largely unknown to Kashmiris at the time. It is worth noting that a substantial number of artisans and dedicated apprentices were actively involved in this field during that period.”
Zargar emphasizes, “This art is in the heart and soul; it’s not easy to learn and requires immense dedication and hard work.”
He continues, “My father eventually sent me to Khanqah-e-Molla Srinagar to learn this art, where he entrusted me to a famous artisan named Khazer Mohammad Chicken. For the first four years, I served the senior artisans by making tea, bringing lunch, cleaning the room and their clothes, and even fetching hookahs. During my school days, I excelled at drawing and often helped other students for practice.
After four years of continuous labour, they began paying me 0.5 paise and allowing me two hours for learning. Following this immense struggle, I always aspired to create something unique and out of the box. I wanted to craft in my way, driven by a strong desire to do something different. Finally, after decades of perseverance, I am pleased to have achieved this goal.”
The art of Dal Lake involves applying multiple layers of lacquer to a wooden base, typically made from the wood of walnut or deodar trees. The process is painstaking, requiring patience and precision.
Zargar’s mastery of the craft was evident in the flawless finish of his products, each one gleaming under the exhibition lights, inviting admiration.
An Introduction to Art
The exhibition hall was a riot of images, with Zargar’s creations adorning every available space.
From delicate pen holders to large decorative pieces that could serve as the centrepiece of any room, the range of items on display was as diverse as it was impressive. Each piece bore the hallmark of Zargar’s craftsmanship – a perfect blend of traditional motifs and contemporary designs.
Zargar recounts, “I frequently visited Dal Lake, eager to observe its details keenly from a boat – its structure, lotus flowers, greenery, water bubbles, boats, and nuts. The lake also provided various medicines beneficial for backache, nervous problems, and urinary issues”.
For him, an image of Dal Lake could not be complete without the transformation it has undergone over the years.
“So, I crafted a representation of Dal Lake, depicting its evolution from the past to the present. I showed women fetching water when it was clean, fishermen at work, and vegetable sellers, and even included old artifacts like hookahs and kangris. I also portrayed a woodcutter at the lake’s edge, along with willows, butterflies, ant and bird nests, and an old mat called ‘wagu’ in Kashmiri,” he says.
The result was a table showcasing the story of Dal Lake.
This project took him three years to complete. It’s challenging because it requires creating shapes before crafting the details. Only after five decades of crafting he could muster the courage to take on this challenge.
“Dal Lake is not just a craft; it’s a piece of our history, our culture,” Zargar explained, his eyes twinkling with pride as he guided visitors through his collection. “Every bit of chiselling, every contour, every layer of lacquer tells a story of our land, our people.”
The table, a canvas of walnut, doesn’t just bear the intricate tapestry of Dal Lake, but the table holds another world within its depths.
A breathtaking journey to the Amarnath shrine begins with a five-step ascent from Pahalgam. As the path winds through the picturesque landscape, a river meanders alongside, providing a refreshing respite. Along the way, a majestic lion can be seen quenching its thirst at the river’s edge. The route ultimately leads to the sacred Shiva Lingam, a natural ice creation and the revered Nagraj. Photo/Sheikh Mustafa
A Glimpse into Amarnath Shrine
On another table, a cave – a replica of the holy Amarnath shrine – emerges from the wood, its icy stalactites and shimmering crystals captured with an almost spiritual reverence. The journey of Lord Shiva, the legend that underpins the pilgrimage, is carved into the surrounding wood. Its visual storytelling transports the beholder to the icy heights of the Himalayas.
Ghulam Nabi Zargar says, “My wood carving of Amarnath is a gift to our cultural heritage and showcases the beauty of this sacred place of Amarnath Shrine through my art.”
The Amarnath shrine, nestled high in the Himalayas, is a testament to the region’s spiritual significance and natural beauty. Located in a cave at an altitude of 3,888 meters, the Amarnath shrine is one of the most revered Hindu pilgrimage sites. The cave is home to an ice stalagmite, believed to be an embodiment of Lord Shiva, one of the principal deities in Hinduism.
As a master artisan, Ghulam Nabi Zargar’s creation outlines the blend of art and spirituality that coexist in harmony, each enhancing the other, creating an experience that is truly unique to Kashmir.
Inside the bustling Arts Emporium in Srinagar, the serene and spiritual aura of Amarnath shrine also highlights Kashmir’s diverse appeal.
For Zargar, wood-carving is a way of life, a means to preserve the rich cultural heritage of Kashmir and to share the beauty of our region with the world.
“It is my greatest joy to see the passion for this craft ignite in the hearts of young people,” Zargar says, his lips breaking into a warm smile. “To know that I am playing a role in preserving and passing on this legacy, that is the true reward of my work,” he says.
“It’s heartening to see the younger generation take an interest in our traditional crafts,” Zargar said. “They are the ones who will carry this art forward, ensuring it doesn’t fade into obscurity.”
The Fading Art and Glimmers of Hope.
Director, Handicrafts & Handlooms, Kashmir Mahmood Ahmad Shah says, “We have launched an initiative called “Know Your Artisan” to provide a platform for artisans to showcase their works and art. Ghulam Nabi Zargar was one such artisan featured in this program. Additionally, the department operates two dedicated institutions and training centers to equip artisans with the skills needed to master various arts and crafts.”
Besides that Shah says “A program called “Know Your Artisan” provides a platform for skilled individuals like Ghulam Nabi Zargar to showcase their works and art. This initiative goes hand-in-hand with the department’s commitment to artisan development, exemplified by its two dedicated institutions and training centers. Additionally, since the policy’s launch in 2020, several schemes have been implemented to empower artisans financially. These include the Credit Card Scheme for Artisans and Weavers, Financial Support Scheme for Cooperatives, Scholarships for Children of Weavers and Artisans, Block Level Cluster Schemes under NHDP and the Pradhan Mantri Weaver Mudra Scheme.”
However, Zargar worries that this may not be enough. “This art is like a pearl in our hands. Hazrat Ameer Kabeer (RA) brought this art to Kashmir from Turkey, bringing experts from Persia, Turkey, Iran, and Egypt. While there is still high demand for this art, unfortunately, it is dying because young people are not interested in learning it. The training centres are disappearing, and this once-beautiful art is in its final stages due to a lack of interest.”
However, the path to success hasn’t been easy for artisans like Zargar. The craft of Dal Lake, like many traditional arts, has faced challenges in recent years. Changing consumer preferences, the availability of cheaper alternatives, and modernity have all contributed to a decline in the number of artisans practicing this craft.
But at the same time Zargar is still hopeful and quite optimistic says “There was a time when I feared this art would die with new generation,” Zargar admitted. “But events like this, the interest shown by people, especially the government support, give me hope. We need more support, more recognition for our artisans, but I believe we’re moving in the right direction,” he says, pointing to the brisk rush of people seeing his master-pieces and purchasing his other wood carvings.
“My greatest joy,” he said, “is to see the smile on someone’s face when they hold one of my creations. That’s what keeps me going, that’s what makes all the hard work worthwhile.”
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