Paper maché was introduced to Kashmir in the 14th century by Mir Sayyid Ali Hamdani, a Persian Sufi saint who brought artisans from Persia to the valley. These artisans taught locals various crafts, including the intricate art of paper maché. The craft flourished under Sultan Zain-ul-Abidin (1420–1470). Kashmir’s paper maché involves two stages. The first, Sakhtsazi, involves creating the base from recycled paper, which is soaked, mashed, and moulded into forms such as boxes, vases, or figurines. Once dry, the piece is smoothened with sandpaper. The second stage, Naqashi, is where the item is hand-painted with detailed, vibrant patterns—often inspired by nature and Mughal aesthetics. Maqbool Jan, an artisan from Lal Bazar in Srinagar, has been devoted to this craft for over 50 years. He is one of the few remaining masters of this traditional art and has received several accolades, including the prestigious UNESCO Seal of Excellence for handicrafts in 2007–2008. “I was only three when I started learning this art after my father’s sudden death. He too was a paper maché artist. My wife, brother, and his wife are also involved in this craft. Many in my family are awardees,” Maqbool shares. Despite the rich legacy, the craft is rapidly disappearing. Few artisans remain, and even fewer young people are interested in continuing the tradition. Many view the effort as underappreciated and financially unsustainable. “My son wanted to learn paper maché, but as he grew older, he saw how much hard work it takes and how little recognition the artist receives. That’s the reason he chose not to pursue it. If this art had been included in school and university curriculum, things might have been different and people wouldn’t feel hesitant to learn it,” Maqbool Jan told International Business Times. Maqbool blames the government for the decline of paper maché art. He believes artisans are not given proper platforms to showcase their work. “Very few artisans are practicing this craft today, and I don’t want to see it die. More exhibitions should be organized, more courses related to different art should be included in the school curriculum itself, as it isn’t something that can be mastered within one or two years, more training centers should be established, and the artisans who teach must be paid fairly,” he added.