Amid the bustling lanes of Srinagar’s Khanyar, sitting in a dark and tiny tin shed, 75-year-old Ghulam Mohammad Kumar bends over his wheel, his weathered hands crafting exquisite pieces from clay. The last keeper of Kashmir’s glazed pottery tradition, Kumar’s room is filled with colourful pots as reminders of a centuries-old craft, now teetering on the brink of extinction.
For over six generations, Kumar's family is involved with glazed pottery, a craft that requires a blend of labour, patience and dedication.
Kumar begins the process by shaping the clay with his own hands, giving life to delicate forms. These are then carefully placed in a kiln (fire pot) to firm up. He then finally applies a special glaze, made from natural elements, which gives each piece its unique shine and vibrant colors.
From tiles chiseled with the iconic Chinar leafs, to everyday pots to traditional cups and other utensils, Kumar's creation is a testament to the beauty of this art. But sadly, he stands alone today as the last guardian of this precious art and heritage.
“I am the sixth one in my family generations to carry forward this tradition,” Kumar states, tracing his lineage back to Umar Kumar, followed by Subhan, Rehman, Razaq, and his father, Habibullah Kumar.”
“My father told me, this clay is our lineage it holds the breath of those who come before it." Kumar recalls. “But now, when I walk these streets, I see plastic and steel, and no one wants the pure and original things made by hand.”
The Struggle for Survival
The market for glazed pottery has dwindled over the years, overshadowed by modern materials. Now most people prefer the plastic or metal stuff because it is cheaper and doesn't break as easily. However, this has made life hard for the artisans pouring their sweat into this craft.
Many of them have left this artisanery and turned to other professions to meet their needs.
"There was a time when every household in Kashmir used pottery, but today people prefer the modern materials instead of these," Kumar says, adding, “it breaks my heart to learn that other artisans are moving to other professions. It is difficult to see this art fading away.”
“I remember when my father and grandfather worked together in this room,” Kumar recalls with a tinge of nostalgia and a smile appears on his lips. But there is an unspoken fear for the future of this craft in that smile.
Despite all odds, he’s determined to continue his work in the hope that he can inspire a new generation to carry this legacy forward.
"This art needs patience and love," he emphasizes, "It is not merely about crafting objects, it is about keeping our culture alive."
Heritage Rooted in the Valley’s Earth
For Kumar, his daily ritual of touching the clay and moulding different shapes is conversational and strikes a connection both with the simple material he uses and with his ancestors. It’s a way to keep their spirit alive in every swirl and in every glaze.
“As I work, I feel their presence,” he tells. “It feels like they are guiding my hands, and asking me to keep going."
"I have been working with clay for as long as I can remember,” Ghulam Mohammad Kumar shares, his voice soft yet filled with pride. “Each piece I create is a labour of love, and an acclaim to the rich cultural heritage of Kashmir,” he adds.
The art of glazed pottery in Kashmir dates back to several centuries, with its roots intertwined with the region’s history and culture. In the daily life of Kashmiris the pottery finds extensive use. From cooking utensils and storage jars to decorative items and architectural elements, pottery is an integral part of Kashmir’s households.
Kashmiri pottery, also called as Dalgate pottery, is special because of its shiny glaze. Skilled potters make things like oil lamps and tea kettles and decorative pieces.
The process is as poetic as the valley itself. Potters mould soft clay into elegant forms like plates, bowls, cups, tiles, and decorative vessels. They are then baked in a kiln, painted in floral patterns and then glazed with a shiny coat using natural substances.
The whole process demands specialized materials like Rogan, Naag, Kalay, Tramsun, vavat, and Zasun (These are local names for clay, silica, alumina, fluxes (like metal oxides), metal oxides for color, and additives). Beyond these decorative pieces, Kumar crafts unique tiles that naturally regulate temperature, staying warm in winter and cool in summer
Kashmiri pottery is also believed to have ancient roots. The archaeological sites of Burzhama in Srinagar and Gufkral in Pulwama, which date back 5,000 years, also reveal evidences of ancient Kashmiri pottery. The medieval sites of Avantipura, Devsar and Martand exposed the fragments of earthen vessels such as jars, gharas, haandis, jugs and bowls.
The connection between Burzhama and the Dalgate pottery, however, is not known.
Glazed pottery, once a booming industry, has plummeted in Kashmir in the past few decades. Many artisans like Kumar are left struggling to sustain their art. The change in customer demand, economic considerations, abundant availability of cheaper and durable alternatives have contributed to the decline of this art form.
"Progress should not erase the past,” Kumar laments, echoing the sentiments of many in his shrinking community. “When a society forgets its art, it forgets its roots.”
His dedication has earned him honour over the years. His work has been showcased at various exhibitions, and he has received several awards for his contributions to the art. Yet, Kumar remains humble.
“These awards mean nothing if the art dies,” he says. “My true reward would be to see young people take this craft forward.”
Kumar has made efforts to pass on his knowledge, training a handful of young artisans over the years. He, however, encounters the limitations of small shed as a proper workplace. “I yearn for a small piece of land where I can set-up a proper pottery house, not just for my own work, but to pass this invaluable art to the next generation, he says.”
Even with these difficulties, Ghulam Mohammad Kumar is determined to keep the art of glazed pottery thriving. He wants to share what he knows with new artisans, hoping to inspire them to love traditional crafts just as much as he does.
Have you liked the news article?