“The Silverwork of Kashmir is extremely beautiful and some of the indigenous patterns, the Chinar and Lotus lea are of exquisite designs.” – Robert Lawrence

 

Roaffe Kaem or silver artistry of Kashmir is a dying art as just a handful of elderly craftsmen are left in the Valley who fear the art will die with them, as the present generation is not interested in the craft and also there is no government support. Ghulam Nabi Zargar (65) from Khwaja Bazar, Srinagar and Farooq Ahmad Kashoo (63) from Malaratta Chowk, Bohri Kadal, have been involved in this craft since generations but the influx of xheaper Chinese and German silver have reduced the demand for pure Kashmiri silver which is more expensive.

The two artists have crafted various items of silver over the last 50 years. These include samavar, kangris, traem sarposh, isbandh soz, kashkuls, tea sets, goblets, fruit bowls, Quran boxes, trays and other serveware.

It is said that silver artistry in Kashmir dates back to the Mughal Era and was inspired by the picturesque beauty which surrounds. The craft contributes to the rich cultural history of the Valley and made its way into the Durbars (courts) of the royals. Ksemandra and Kalhana both have written about use vessels made of gold and Kashmiri Silver by kings and their nobles. During Mughal rule other items  like huqqas, spittoons and rose water sprinklers were added. It is said that Maharaja Hari Singh had specially designed utensils and tableware handmade by Kashmiri Silversmiths, which included a thaal (rounded plate) with a hot water steam chamber to keep his food warm.

Kashmiri jewelry for women was also crafted from silver. The elite women would wear the ancient headgear, kasaba paired with exquisite taal razz and would be laden in heavy silver necklaces and cuffs. Lighter silver jewelry was worn by women of the lower strata. A typical Kashmiri bride would walk down the aisle wearing sandals of pure silver. Talismans were worn within silver dolna necklaces and the women use a surma daani made into a silver necklace for a handy kohl storage.

The precious silver items undergo a meticulous process of hammering, shaping, engraving, and refining. Thick blocks of silver are first hammered into sheets which are heated to an extreme temperature by a silversmith. The excessive heat melts the precious metal for the silversmith to mould and shape it with the help of a tool called onguch into the article of his design.

The naqash (designer/drawer) prepares the design over an iron trace. These designs are inspired by the floral landscape of the Valley and include Chinars, lotus leaves, and poppy plants. Arabesques or paisleys are also made to resemble famous Kashmiri shawls. The silver is first softened, the mould is heated for the second time and cooled to the desired temperature at which the iron trace is hammered to cast its imprint. The design is repeated over the entire surface. After the engraving, any bends in the mould are removed using a tool called eran. Finally, a fixture of copper and silver called taanka is inserted. This is followed by  cleaning, polishing and gilding the metal.