Khatamband is an art of making ceilings by fitting small pieces of wood (preferably walnut or deodar wood) in geometrical patterns. These are entirely hand crafted and fitted with tongue and groove joints, without use of any nails. Processed wood is cut into panels and fixed onto the ceiling in floral and geometrical designs.

As with most other crafts of Kashmir, it is believed this craft too was brought to Kashmir by Shah-i-Hamdaan, who traveled to Kashmir from Persia along with several craftsmen. While some believe it was brought to Kashmir in 1541 by Mirza Hyder Doulat. Few of these artists stayed on in Kashmir in the Traal village.These artists passed on their craft to the Geeru family. Khatamband however did not flourish at the time. Mirza Hyder Daulat later revived it in 1514. The Geeru families are now concentrated in an area called Safa Kadal. However, the existing specimens show that in Kashmir certain innovations were made in the craft that replaced the ivory, bone, mother of pearl, brass and silver and in this place pure wooden pieces were painted with floral motifs as in the mosque of the Madani. It was also sometimes painted to give different hues to separate geometrical panels or else inscriptions written as on the panels of the wall in the Khanqah at Srinagar.

However, woodwork was an essential part of Kashmiri lifestyle from time immemorial. The carpenter made not only household items but also items for temples and royalty. The art of carpentry was recognized as an essential part of community work. Ancient texts like the Brihat Samhita and Shilpa Shastra provide detailed instructions on woodwork – how to work with the different kinds of wood and even how to fell the various trees.

Earlier Khatamband ceilings were only found in the shrines (The shrine of Khwaja Naqshband is probably the best example of this craft), palaces, houseboats and royal houses, however, now these are increasingly being used in residential constructions. The mosque of Madani in Srinagar, a small building but the earliest example surviving, has its roof in the pyramidal wooden style supported on long wooden columns with a paneled ceiling in khatam-band, as is the case in the Khanaqh-i-Mualla in Srinagar. These and many buildings in and outside Srinagar that have elaborate carving on the base and capital of the pillars as well as wooden ceiling in Khatamband design.It’s an expensive art form and not many people invested in it for a long time. In fact, the mid-nineties saw the art gradually fading away, but in recent years has seen a revival. Now the technique is also used on screens, doors, windows etc.

With fewer or no nails used at all, the Khatamband ceiling can easily be disassembled and re-assembled at another place.The forest department at appropriate intervals supplies wood, the primary raw material for this craft. This is facilitated due to the Association of Khatamband artisans. They act as mediators to distribute the stock within the registered groups in stipulated quotas. Few changes have taken place in the process of Khatamkari. Earlier the Ricna was a traditional tool used to make markings on the wooden plank. Now, they use a pencil. Though the Ricna was more precise in it’s markings, the craftsmen discontinued its use since it strained the eye to use it. Ply has replaced the wood in the ceiling frames as wood has become more expensive.

There are more than 160 designs for the Khatamband in Kashmir, though only about a 100 are used in common practice. Some of the pattern names are: Muraba, Kansut, Sarva, Lakut, Bod, Badam, Sakhur, Bita, and Tobul etc.The meaning of Khatam translates to ‘incrustation’. These incrustation patterns are usually star shaped. The ceilings are not only decorative but also help to insulate in the cold weather conditions. In order to preserve this beautiful art form, it was awarded Geographical Indication (GI) certificate in 2011 (Journal No. 41 and certificate No.164) symbolizing its exclusivity in international market.

Ali Mohammad Giru’s (Geeru) karigars work on this craft at his karkhana.