SRINAGAR, Jammu and Kashmir
On a cold winter morning in Indian-administered Kashmir, 25-year-old Aziz-ur-Rehman carefully arranges his tools in his small workshop. In front of him lies an animal horn, soon to be transformed into an intricate necklace.
Rehman is believed to be the first artist in the region to craft utility items from discarded animal bones and wood. Inspired by the philosophy of “waste to wealth,” he repurposes materials that others might discard, creating exquisite ornaments, furniture, lamp posts, knives, mirrors, and clocks.
His passion for history, particularly the way early humans crafted tools from stone and wood, has shaped his unique artistic vision.
“I belong to an old school, and the history of early man has always fascinated me, especially their way of making tools from natural materials,” Rehman told Anadolu, while chiseling the animal horn into a delicate ornament.
Despite having no formal training in art, Rehman’s self-taught skills have earned him recognition. He has held exhibitions and conducted workshops, drawing admiration for his ability to fuse traditional techniques with modern aesthetics.
Reviving Kashmir’s artistic heritage
For centuries, Kashmir has been a cradle of fine arts, crafts, and skilled workmanship, passed down through generations.
Many of these art forms are believed to have been influenced by Central Asia, particularly during the Mughal era. However, some historians argue that several crafts are indigenous to the region.
Abdul Ahad, a historian and author, challenges the notion that all Kashmiri crafts originated elsewhere. In his recent book, ‘Shawl and Shawlbafs of Kashmir,’ he emphasizes that many of the region’s traditional skills, including shawl weaving, are homegrown.
“Archaeological evidence suggests that several art forms in Kashmir are indigenous,” he told Anadolu.
“While some crafts or art forms may have been influenced by travelers, it is not wise to attribute everything to outside influences,” said Ahad, who has served as chief of archives, archaeology, and museums, as well as secretary for culture and education in the region.
He acknowledges, however, that modern influences have reshaped traditional arts, particularly among the younger generation of artists.
Rehman identifies himself as part of this new wave of artists, who believe in adapting to contemporary trends while preserving the essence of their craft.
“Innovation is key to survival in art. When you introduce something new, people find it more unique and appealing,” he says.
He notes that, traditionally, Kashmiri artisans mastered a single craft and passed it down through generations without much evolution.
“This made the work redundant and repetitive,” he explains.
Rehman’s art stands out for its fusion of multiple disciplines, incorporating calligraphy, painting, papier-mache, and wood carving. His collection even includes intricately painted and engraved lamb skulls, blending contemporary artistry with ancient symbolism.
Social media boom
At a time when the region is grappling with high unemployment – estimated at nearly 32% - Rehman believes that young people should explore traditional skills and modernize them for sustainability.
“We need to shift our mindset. If we revive our crafts with a contemporary touch, we can be self-reliant, and people will be their own boss,” he said.
A few months ago, Rehman had only a few thousand followers on Instagram. However, after consistently showcasing his work, his page has grown to over 100,000 followers worldwide.
Most of his orders now come through social media, and while Rehman is pursuing a degree in fisheries, he is confident about making a full-time career from his craft.
“I earn a decent living through this. This is no longer just a hobby. I’m making it a profession,” he said.
“If it weren’t for social media, I wouldn’t have been able to showcase my art. Every bit of appreciation and every order I receive comes directly from there. It has helped me tremendously.”
