Painting on Papier-Mâché

Islamic and Iranian designs like the paisley took many forms and travelled as a motif, changing its name from badam (almond), to kiairi (mango), as it moved southwards into different areas of India.

The paisley was significant historically because although the original shape was of a jewel in the turban of a Persian or Moghul ruler, the British appropriated the shape and used it in manufactured machine-made imitations.

They named it paisley, after the town in Scotland.

The painter again coats the surface of the object with yet another layer of Fuller’s earth before painting it.

The artist heats some glue to paste fine tissue over the piece.

The article is covered with a layer of fine tisue paper that is stuck with a resin-based glue.

Fine tissue paper is used for this process.

The fine tissue paper covers the entire object and provides the final surface to be painted.

Finally the artist begins to paint the object.

The base colour is generally a single strong one against which the fine motifs are set off to best effect.

Once the base colour has dried, the artist rubs sandpaper gently over the surface to make his ‘canvas’ smooth.

Fayaz Jan begins by making the outlines of the flowers he is going to lay out in his pattern.

As many details as can be done at this stage are filled in.

Now Fayaz jan begins to fill in the colours.

All papier-mâché artists prefer to work on carpeted floors throughout the year.

Fayaz continues his work, surrounded by other pending or completed works.

Once the artwork is complete, the entire surface is given a coat of varnish to protect the paint.

Fayaz applies varnish by spreading it with his fingers evenly across his platter.

The finished papier machie platter is proudly displayed before it is set aside to dry.

In many cases now, the base form is made out of carved wood. These have smooth surfaces and do not need so much labour to prepare.

In the streets of Srinagar are craftsmen who specialize in crafting wooden pieces in their workshops.

These wooden pieces are designed for decorating ceilings of Kashimiri homes.

Elephant forms are loved by everyone and is must in every artist’s repertoire. The blue elephant still has to be completed.

A batch of semi-painted boxes await detailing and the finishing touches of the artist.

Commonly made items are often produced by apprentices who do parts of the process for speed, greater production and efficiency.

This artist carefully paints the edges of a box, while holding it with a piece of cardboard to avoid soiling.

The artist and his paints are always ready to be mixed and used.

Fayaz Jan tests the fineness of his brush before intricate detailing.

Fayaz Jan is a modest but highly respected master artist who puts his passion and skill to best use in his papier-mâché art and the subject of hi paintings.

The specially commissioned painting is inspired by botanical themes.

The specially commissioned piece for a customer who lives outside the state has contemporary overtones while invoking the imagery of Kashmir.

Wall panel showing rich local flora, fauna and community life in vibrant colors.

Fayaz Jan’s immense talent show in this work which invokes Mughal miniature painting with a haunting Japanese mood in the use of colours.

Other workers who assist Fayaz Jan with his minor products, fill colours into the sketched design.

Decorative plates with Arabic inscriptions.

Fayaz Jan has been keenly pursuing the revival of calligraphy in his papier-mâché art.

Sometimes these are converted into wall clocks which make them decorative utilitarian objects.

Read more about Papier maché here:
- Inspiration
- Shaping Process