Jahangeer Ganaie
Srinagar, Jul 28 : Mohammad Rafiq Najar, a 65-year-old walnut wood carving artist from Naidboni, Rainawari in Srinagar, has spent over four decades chiselling life into wood. But today, the seasoned artisan says the intricate art that once earned him awards and recognition is no longer enough to earn him a dignified livelihood.
“I started learning this craft from my father, Noor Mohammad Najar, when I was young,” Rafiq said while speaking to the news agency. “For the last 40 years, I have been dedicated to walnut wood carving, but the demand for this work is declining with every passing day.”
Once considered a pride of Kashmiri heritage, walnut wood carving is struggling for survival. While Rafiq has received dozens of awards over the years—including the prestigious State Award in 2011—the recognition has not translated into a sustainable income.
“I had applied for the National Award after winning the State Award, but my application was rejected. Still, an artist never gives up,” he said.
Rafiq now takes on work wherever it is available—travelling from one house to another, carving handmade panels into doors, ceilings, and furniture, just to make ends meet. “It has become extremely difficult to support my family through this art. We are barely able to make ends meet,” he said.
The government, he said, has not offered substantial support at the local level. “The Union Government is giving Rs 8,000 per month to awardee artists, which is some help, but it isn’t enough to live with dignity. The state machinery needs to do more.”
Najar expressed deep concern over the fading respect and recognition for handmade work. “Earlier, artists were treated with great respect. Today, our work is seen as outdated, and people don’t want to pay for quality handcrafted products,” he lamented. “Until and unless handmade work is valued and artists are respected, this craft cannot flourish.”
Despite facing hardships, Rafiq has trained dozens of young artisans over the years. But they, too, are struggling. “Even the youth I have trained are unable to earn a decent living. If renowned artists like us are in distress, how can we expect youth to choose this path?” he asked.
The artisan has urged the government to take meaningful steps to revive the dying art. “There must be structured schemes to attract youth, support marketing of handmade items, and ensure artisans can earn decent livelihoods. We need exhibitions, online platforms, and direct market linkages,” he said.
Rafiq’s work has reached countries across the globe, and he has even travelled abroad, where he was welcomed with respect. Yet, at home, his talent struggles for survival. “Abroad, I was respected for my work. But here, even my basic needs remain unfulfilled,” he said.
“I am not happy doing this work anymore—not because I don’t love the art, but because there’s no future in it now. At the very least, an artist should be able to feed their family. That’s not the case today,” he said, his voice tinged with both sadness and resilience
