(MENAFN- Kashmir Observer) Please tell us about yourself and your life
I was born and raised in Hassan Abad, as the youngest child of Mohammad Qasim Baba.
My near-ancestors were papier mache artists and my father, had through years of relentless struggles and hard work, built a very successful Papier Mache business, which was called M. Qasim and Brother. Sadly, the business no longer exists but its impact hasn't faded from the memory of those who were associated with it.
Read Also Video- Naqsh O Nigar: Empowering Emerging Artists and Craftsmen 'Naqsh o Nigar' Exhibition Garners Enthusiastic Response I started my schooling in Burn Hall School, which was followed by Islamia College and then the University of Kashmir, where I graduated with a master's degree in Commerce. Unlike the children of most businessmen at the time, I was very dedicated to my education and was fortunate to be recognized with five gold medals for academic excellence. After finishing my Master's Degree, I was offered a lectureship in the University.
I was offered a Lectureship at the University's Commerce Department but I could not continue beyond two semesters because I left for the US to pursue an MBA.
From early childhood, I had an interest in beautiful things – be it nature, the aesthetics of my own room, the arts, music, English literature, Urdu poetry etc. THAT is not something I acquired in America. It was always a part of me.
Tell us something about your life in the US
Without the advantages of the internet, WhatsApp and Facebook or the benefit of having relatives or friends in the country, my first few years in the US were very difficult and to this day, the struggle doesn't seem to let up. But I can't thank Allah enough that despite the struggles, I managed to survive. And most importantly, I did so on my own terms. I don't work for anyone. I am a freelance business consultant and help large healthcare and government organizations with challenging projects and with business transformation initiatives.
On a personal level, life in the US has been a life altering experience
– and in a positive way, without requiring me to compromise my identity.
I have always lived in small towns in Washington State (not Washington DC) where I first landed, primarily because its environment, geography and climate are similar to that of Kashmir.
What has been your story with heritage arts?
Historically, the collection of antiques and artifacts is a luxury that is indulged in, by a privileged few, who take a fancy to the arts of far-off 'exotic' lands and have the means to acquire and store it. I acknowledge that it is through the efforts, contributions and generous museum donations of such collectors, that these antiquities and art forms were saved for posterity and continue to be a source of education and wonder to our generation. With that said, I do consider myself as a member of that group because, for me, my collection is a part of my own heritage, my connection with it is very personal and my goal is not limited to its preservation and display. Besides, I have relied on my own research and education to curate and speak to the age, history, design elements and materials of my collection.
Over the span of two decades, I've meticulously curated a diverse collection that spans centuries of Kashmiri craftsmanship. This assortment showcases the rich heritage of the region, including intricately woven and embroidered Kashmir shawls dating back to the 1750s, alongside exquisite examples of Kashmiri Papier Mache from the early 19th to mid-20th century. The collection also boasts engraved and repousse silver and copper pieces, highlighting the fine craftsmanship prevalent from the mid-1800s to the early 20th century.
Among the treasures are over 100 pieces of rare Kashmiri silver and copper enamelware, offering a glimpse into a lost art form. Additionally, the collection features over 100 meticulously carved walnut wood items, including sizable 6-foot privacy screens. Complementing these tangible artifacts are Kashmiri landscape watercolors, painted by local artisans and English artists from the late 1800s to the early 1900s, as well as a selection of etchings capturing the essence of Kashmir's scenery, people, artisans, and significant events from the 19th century, found within English and French newspapers.
What is the inspiration behind your collection?
Well, as I mentioned, I have always had an interest in history and in art. Not surprising, growing up, I was keenly aware of the quality of my father's Papier Mache and was sensitive to the craftsmanship involved in the various art forms of Kashmir. Once I came to the US that appreciation only grew.
I recall seeing a Kashmir shawl in a museum in Seattle, Washington and being mesmerized by it. Shortly thereafter, I bought a book called Pashmina, from a bookstore called Kashmir Bookshop on my visit to Kashmir. With that, began my journey of researching and studying the history of the heritage arts of Kashmir, particularly the Kashmir shawl. And the more I studied, the more my interest and fascination grew because I became more and more aware of the extraordinary skill, imagination and artistic excellence required to produce the art forms of Kashmir, particularly, the of pre-1870s Kashmir shawls. As my research revealed the miseries inflicted upon the poor shawl weavers by successive dynasties that ruled Kashmir, I felt an obligation to share with the world the wonders that they had produced, despite their suffering. I felt drawn to give a voice to these voiceless heroes of Kashmir's artistic past.
I asked myself –
if I don't preserve whatever little is left of Kashmir's artistic legacy, who will? So, when I got my first real job, I started to pour every cent into collecting and continuing my research on the various art forms of Kashmir. It has become my greatest passion and I continue to collect and learn, as I continue on this journey.
Could you share some insights into the history and craftsmanship behind Kashmiri shawls and other items in your collection?
When I talk about Kashmir shawls, I am talking about the shawls that were made before the end of the 19th century (1870 or so). These
Kashmir shawl were a luxury textile that was largely limited to the royal courts of India, the Middle East, Russia, the UK and Europe and later to the wealthy landed class of India and the West. There were many reasons for that. The foremost reason, of course, was the extraordinarily fine fiber (pashmina) that these were made from, giving them a softness and drape that surpasses the finest silks of the world. Second, the Kani weaving technique, which is unique to Kashmir and required years of training and skill, allowed the weaver to create highly complex patterns that would be near-impossible to be executed on a geometrical loom.
Finally, the knowledge and techniques of several highly skilled craftsmen had to align in perfect harmony to create these wonders. These include the artist who envisioned and painted the design, the person who converted the design into a talim from which the weaver could weave,
the dyer whose dyes were so rich that 250 years later, they still retain their brilliance, the darners who joined several pieces together to make a shawl without letting the slightest hint of the seam across Europe.
I must add here that I am referring to the shawls that were made in the 1800s, which are near-impossible to reproduce in today's business and social environment, despite claims to the contrary.
As the son of a prominent businessman in the Kashmiri art industry, how do you navigate advocating against the exploitation of artisans while still honoring your family's legacy?
The only way to answer this question is to be honest and avoid the exaggerated deification of those who are no longer in this world.
While I am very proud of my father's legacy and humanity and consider myself fortunate that I imbibed some of his values, I also recognize that he was part of the business system that existed at his time. He paid the craftsmen well and dealt with them with fairness and honesty but the system was such that the financial advantages
leaned heavily in favor of the businessman versus the craftsman.
I recall a conversation with a close family member who, when I shared these sentiments with, said,“Well, he provided those craftsman with
rizq” and I responded,“No, it was the craftsman who were the source of his
rizq.
Without them, there would be no business”. And today, when I speak to any of his craftsmen, I express my sense of gratitude for their immeasurable contribution to my life.
Having said that, I don't claim to be a social activist and can't really comment on the current situation of craftsmen in Kashmir. You can judge me on this subject if I ever start a commercial venture with Kashmir crafts.
Show on the face of the shawl, the Purzagur who finished the shawl and the washerman who washed the shawls without the aid of chemicals and softeners – all of which culminated in a textile that fascinated the likes of King Akbar, the Deccan emperors in India and the wife of Napoleon and members of royal courts.
What are your goals with regard to your collection?
The endeavor to educate individuals about the Kashmir (Cashmere) shawl and its rich history is not merely a quest for knowledge but a journey into the intricate tapestry of human narratives interwoven with threads of tradition and craftsmanship. It aspires to elevate the Kashmir shawl from its understated status to its rightful place among the world's most exquisite textiles, rekindling appreciation for its unparalleled beauty and artistry. In doing so, it seeks to not only showcase the splendor of Kashmiri art but also to foster a renewed sense of pride and inspiration among the present generations in Kashmir, India, encouraging them to explore these art forms as viable career alternatives. This endeavor is a pivotal step towards the revival of the originality, quality, craftsmanship, and sincerity that once epitomized the artistic legacy of Kashmir, ensuring its legacy continues to flourish in the modern world.
What has your journey towards your goals been?
Trying to share my collection and the story associated with it has been a struggle. However, I have been able to share a sample of my collection and deliver a lecture, especially on Kashmir shawls in several institutions in the US,
including the Museum of Fine Arts in Houston and The Textile Museum in Washington DC. I am also scheduled to deliver a lecture at the Smithsonian and a few other institutions during the fall of this year.
Unfortunately, in Kashmir or in other parts of India,
I have not received any support or even encouragement to share my collection. After all, the art belongs to this country and my fellow countrymen,
should have the first privilege to see and admire their heritage. And this is not for lack of trying.
I have made several attempts to reach the right authorities in Kashmir and also reached out to institutions in other cities including the National Museum in New Delhi but they have shown little interest or support.
It has been very disheartening but my struggles have made me even more determined to realize my vision.
But, as Ghalib, ever so eloquently said-
Paatey nahin jab rah to chadd jaate hain naaley
Rukti hai meri ta-ba to hoti ha rawaan aur
How do you raise funds for your initiative? Are you affiliated with any museums, NGOs or other institutions
I am not affiliated with any organization or institution and I do not receive any funding from any individual or organization or institution. The concept, collection, research, study and preservation of my collection is all my own. In fact, on more than one occasion, when I travel to a museum or other such institution to deliver a lecture on my collection, I have paid for my own travel and living expenses.
What is your message for those who may not fully understand the cultural significance and value of Kashmiri art forms, especially Kashmiri shawls?
I am fighting a one-man-war to elevate the status of the Kashmir shawls of the 19th century and before, to its rightful place, as one of the finest, if not the finest textile of the world. And this is not based on an emotional assessment but is firmly rooted on years of research and objective analysis. Further, this was no accident. Rather, it was the culmination of artistic and technical excellence achieved over centuries and practiced with a deep sense of relevance by a people who did not compromise the excellence of their skills, despite the suffering they endured, ironically, for these very qualities.
The other, even more important message that I want to convey to the world is that the story of India (and of other colonies of UK and Europe), has mostly, if not always, been told by the colonists. Same is largely true of its history and the arts. This trend continues to this day where most of the 'experts' on Kashmir shawls are European, American or English – with a few exceptions. I am truly grateful to them, because it is only due to their efforts and hard work that I was able to learn about the history of my own heritage. But I feel that it is time that the world also hears the story of the arts and culture of former colonies from the perspective of the so-called 'natives'. It's time to give them a voice and let them tell their own stories, especially if they have demonstrated their knowledge and experience in the field.
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