Jahangeer Ganaie
Srinagar, Oct 30: The traditional craft of Pinjirakari, a unique form of latticework from Jammu and Kashmir, is facing a slow demise as handmade creations are increasingly overshadowed by machine-produced items. With only a handful of master craftsmen remaining, the future of this intricate art is in jeopardy.
Pinjirakari involves creating elaborate patterns from light deodar wood, with strips arranged in geometric designs. The craftsmanship relies on precise joinery, without the use of glue, making each piece a testament to the artisan’s skill.
Fida Hussain Baba, a renowned Pinjirakari craftsman from the Nawa Kadal area of Srinagar, has dedicated nearly five decades to this art.
Baba said that while interest in Pinjirakari had grown in recent years among those outside J&K, local demand has waned. “Now, only a few households in Kashmir request this decorative work,” he said.
Fida expressed concern over the dwindling number of skilled craftsmen, with only about 5-6 masters remaining—most of whom are aging and unable to work. He lamented that the rise of machine-made products, which are cheaper and more readily available, has significantly impacted traditional craftsmanship.
“With my death, the mill where I work with four others will likely close, as few are interested in becoming proficient in this art,” he said. “People want quick results and don’t prioritize whether the work is handmade or machine-made.”
Similar to another woodcraft known as Khatamband, Pinjirakari involves joining carved wood pieces without glue or nails. This technique is believed to have been introduced to the region by the famous saint Mir Syed Ali Hamdani (RA).
Baba said there are countless patterns used in this craft, but no one from the younger generation, including his own children, is interested in learning. “At least 50 people have learned this art at my mill, but most have passed away,” he said.
He added that middlemen exacerbate the situation by taking a larger share of profits while artisans receive minimal compensation. “Despite pouring our efforts into the craft, artisans are left with very little,” he said, adding that government initiatives for revitalizing this art form have been lacking.
Deodar and walnut woods are preferred for their aesthetic appeal, yet demand remains low. While a few foreign buyers still seek handmade pieces, Fida said that 95 percent of workshops associated with this craft have already shut down.
Fida and his fellow craftsmen urge the government to take proactive measures to revive and preserve this endangered art form before it disappears completely.
