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Kashmiri Wicker Willow CraftWicker is the term used for products made by weaving and twisting thin slices of woods together. When such products are manufactured using willow wood, the craft is known as wicker willow. In Jammu and Kashmir, these intricate handmade wicker willow products are commonly referred to as Veer Kani or Keani Keam.  Artisans of Jammu and Kashmir state are known worldwide for making baskets, more commonly known as Kangri, using willow woods. Kashmiri Kangri was originally used by natives, especially farmers and tribal people, for carrying clay pots containing smouldering coal. They hold hot clay pots in these baskets beneath their long flowing cloths or pherans. It protects them from cold and keeps their body warm during the winter season.  Now the art has gained widespread popularity and is commercialised for making various other home decor items like chairs, tables, etc.  History of Wicker Willow Art The origin of wicker manufacturing dates back to Sumerian Civilization in 400 BC. They used wicker woods for various purposes such as transport, housing, home decor, utensils, etc. However, evidence of wicker willow as an art form has been found in ancient Romans and Egyptians’ history. The oldest wicker furnitures that are present today are of Egyptian origin. Some examples include wicker chairs and hassocks, chests manufactured from rush and reed, and papyrus wig boxes. In Jammu and Kashmiri, this art was introduced in the 19th century. Natives believe that Maharaja Hari Singh brought 12 kgs of seeds and skilled craftsmen from Europe for making beautiful wicker willows. Before this, Kashmiris produced wicker willow baskets to help farmers. They needed a basket for storing and transporting goods. The state had rich forest and vegetation. So, tribal communities used local grasses, i.e., willows, for making mats and baskets. These tribal communities used a method known as Kangri for manufacturing such baskets. This is why the baskets made from willow wood in Kashmir are known as Kashmiri Kangris. Kalhana Rajatarangini is the first book known in history that talks about this process. It is one of the many popular books that traces Kashmiri history.It mentions that Suyya, a renowned engineer, regulated the path of the Jhelum river using Kangri technique to save the villages from flooding. This happened between A.D. 855 and 883 under the rule of Raja Avanti Verman. Suyya made circular dykes around villages which protected them from the flood.Mr Andrews, a Britisher, established a technical institute in Srinagar around 1914-16 to introduce the English technique of wicker weaving in the area surrounding Bage-Dilawar Khan. The present-day willow weaving in Kashmir has evolved from the teachings of that institute. Manufacturing Process of Kashmiri Wicker Willow Although the willow weaving art is commercialized, artisans still use traditional techniques to make wicker products. Some modifications have been made to increase the sales value of products. Step by step process of handmade willow weaving is described below: Willow saplings are sown around February-March and harvested in October. The stem of the plant, known as withy, is sorted according to length and girth. Farmers then sell these stems to contractors involved in wicker willow manufacturing. They further send these stems to artisans based on what product they are supposed to make. Artisans boil the stems in huge water boilers for a night to soften them. After boiling, they remove the bark from the stem with the help of unique sticks known as zealan in Kashmir. The stems are then dried for several days under direct sunlight to remove the moisture completely. Stem, devoid of moisture, is used by artisans for making beautiful wicker willows. They may smoothen, dye, or cut the stems as per the requirement of the product.  Current Trends of Handmade Wicker Willow Now the usage of willow woods is not just limited to manufacturing Kashmiri Kangris. Craftsmen make other products using this plant, such as picnic baskets, tiffin boxes, lampshades, chairs, tables, trays, curtain rings, and cycle baskets.  Artisans majorly follow two weaving processes for producing aesthetic wicker willow products: For making small and lightweight products: Thin slices of wicker woods are carefully interwoven into each other, giving products a web-like appearance. E.g., baskets, tiffin boxes, etc. For making large and heavy-weight products: Thick willow logs are used to manufacture the products’ basic structure. This helps build a strong foundation and makes the product sturdy. Then the splinters of the wood are interwoven to form the outer appearance. E.g., chair, table, lampshades, etc. Traditionally, the artisans dyed wood in various shades, especially blue, red, and green, to give baskets and other products a colorful appearance. They make geometric patterns via careful multi-directional weaving. Embellishments such as mirrors, foils, and metal pieces are added to beautify Kangris. However, nowadays, plain willow wickers having softwood colors are also very much in demand because of the aesthetic and natural feel. Thus, you may find chairs, tables, baskets, lampshades, etc. of willow wood color also in the market.  Both of the varieties mentioned above are available for purchase on the Hamiast website. Conclusion The best part about willow wicker artform is that it is not mechanised yet. Artisans still use the handcraft for delicate interweaving of willow stems for making aesthetic products. Also, wickers made from willows not only look beautiful but also have a real utility. These products are sturdy enough to withstand the weight of other objects.  Hamiast offers a range of home decors made by skilled Kashmiri craftsmen of willow wicker art. You just have to find a perfect one to enhance the charm of your beautiful home.

Kashmiri copperware is a magnificent example of the intricate and sophisticated artistry of metalworking. The craft of creating copperware is deeply rooted in Kashmiri culture and dates back several centuries. Historians believe that the art of copperware was introduced by artisans and traders from Iran and Iraq over seven hundred years ago.

Basholi, a town located in the Kathua district of Jammu and Kashmir, India, is renowned for its unique school of miniature paintings. Founded in the 16th century by Raja Bhupat Pal, Basholi has a rich artistic heritage, with its painting style, known as Basholi paintings, being considered the precursor to the Pahari painting schools. The Basholi paintings, celebrated for their striking and emotive colors, bold lines, and distinctive facial features, experienced their golden age during the 17th and 18th centuries. Historical Context and Influence: The decline of the Mughal Empire in the 17th century marked a significant shift in the patronage of the arts. Emperor Aurangzeb's focus on military campaigns and governance led to a reduced emphasis on cultural pursuits. As a result, master craftsmen and artists, seeking support and patronage, turned away from the royal court. They found new patrons among local chieftains, far from the turmoil of the empire's center. This shift played a pivotal role in the revival and growth of the Basholi school of painting. The Basholi style, though primarily influenced by the Mughal and Rajasthan schools of painting, also shows traces of Deccan and Gujarat artistic styles. Its unique synthesis of these influences can be seen in the exquisite paintings that this school produced. Despite its initial prominence, the Basholi style later gave way to the Guler painting tradition, another significant school in the Pahari region. Notable works from the Basholi school include "Dashavatara," a masterpiece from the mid-18th century by the artist Mahesh, and illustrations depicting scenes from the life of Krishna and the story of Usha and Aniruddha, derived from the Bhagavata Purana. The Padha Family and Preservation of Basholi Paintings: Post the Mughal Empire's decline, the Padha family of Basholi emerged as significant custodians of the region's artistic heritage. Padha Kunj Lal, a physician, received several invaluable Basholi paintings from the ruling monarch, a testament to the value and reverence accorded to these works. These paintings, treasured and protected by the Padha family, escaped the hands of Afghans, Sikhs, and the British, preserving a vital chapter of Indian art history. Characteristics of Basholi Paintings: Basholi paintings are distinguished by their vivid use of color, geometrical patterns, and a unique portrayal of figures. The colors are striking and rich, with ochre yellow, brown, and green dominating the palette. The figures in these paintings are notable for their stylized faces, elaborate costumes, and distinctive, large bulging eyes, giving them a unique individuality. Themes commonly depicted in Basholi paintings include portraits of local rulers, Hindu deities, narratives from Hindu mythology, and love stories like those of Radha-Krishna and Madhava-Malati, often drawn from the Bhagavata Purana. Craftsmanship and Materials: Creating a Basholi painting is an intricate process, demanding exceptional skill and precision. Artists traditionally use Veale paper or ivory sheets as the canvas. The brushes are crafted from squirrel hair or Kalmunha bird feathers. The colors are derived from natural sources like dried leaves, flowers, beetle wings, and khadiya earth, contributing to the paintings' vivid and lustrous appearance. For embellishment, 24-carat gold and pure silver are used, highlighting the luxury and attention to detail in Basholi artwork. The finesse of these paintings is such that, with a magnifying glass, one can discern individual strands of hair on the subjects' heads. Basholi paintings, with their rich history, distinctive style, and meticulous craftsmanship, continue to fascinate art connoisseurs and historians, standing as a testament to the cultural and artistic legacy of Basholi and the broader Pahari region.