How Bombay Paperie is Reviving the Craft of Master Papermakers from the Mughal Era

What began as an effort to preserve the medieval art of paper-making, which dates back to the 17th century, and to support the livelihoods of artisans descended from the last master papermakers who served in the Mughal court, closed down last year. The Bombay Paperie’s physical store in Mumbai’s Kala Ghoda, where locals and foreign tourists would gather to witness the forgotten art of hand-made paper and printing might be closed, but the current custodian is dedicated to maintaining its online presence, giving their all to keep this heritage craft alive.

The usage of papers was likely to be reduced in the culture owing to the inception of digital technology; the fondness for writing letters replaced by digital texts and documents were substituted by PDFs. Until a few years back, papers did not find a mention in the culture for daily usage. However, all thanks to the younger generation and the recent times - as Pranav Gajjar also highlights how he has observed the shift in the age groups for papers - that the inclination towards using papers has started coming back to the present scene. "Previously, people belonging to the age group of 60 and above would be more interested in knowing about this paper, but now, it is the young, starting 19 years of age who want to know more," Gajjar says adding that now, people are aware of what handmade paper is and what to expect from it contrary to 20 years ago when no one would appreciate it and consider nothing more than "Phool Patti wale paper".

Paper and makers from the Mughal era 

While the country remains the fastest-growing paper market in the world, with domestic consumption of packaging paper and paperboard growing at 8.2 percent in 2023-24, according to a recent report, it is the unique paper that Bombay Paperie is striving to keep alive among people. Reportedly, in the 17th century, at the court of Mughal Emperor Jehangir, a special type of paper was used for documents, edicts, and miniature paintings. According to Gajjar, this paper was made in Daulatabad from a pulp mixture of waste 'sunn' hemp, old fishing nets, gunny sacks, tailoring scraps, and other reusable materials.

During this time, only a few craftsmen made these papers. "These master craftsmen's families witnessed the capital shift from Delhi to Aurangabad," Gajjar adds. Over the decades, as machines gradually entered the handicrafts sector, replacing craftsmen, and cotton waste was replaced by wood pulp, the master craftsmen sought other work but continued to preserve their craft. Neeta Premchand started the store in Kala Ghoda to collaborate with the last two craftsmen from this family, of whom only one remains involved in the business. "Making paper is like music, where different gharanas exist. Not everyone sings in the same raag, nor do they combine ragas in the same way. Similarly, paper-making varies across India. There is the Northern style, the Daulatabad style, the Southern style, and the Northeastern approach, which includes influences from Bhutan and Burma," Gajjar explains.

Talking about the paper-making process, Gajjar explains it in the detail. "The papermakers themselves stand in the pit and lift the paper," he says, showcasing photographs from a bygone era to highlight the process. "Paper can be made from anything that contains cellulose. We use recycled cotton rags and cloth waste, which are beaten into a pulp. Water is added along with other materials, but no chemicals are required or used. The pulp is then diluted in water depending on how thick or thin we want the paper to be, and it is lifted using a mould and deckle. A very thin sheet of paper is formed, which is then transferred onto a couch. Afterward, we press it to remove the excess water, which is recycled back into the vat (a large container used to hold water and the paper pulp mixture during the process)."

Gajjar also mentions that after it is pressed, it can be taken out to get it dried in the sun. Creating a thin paper is only an art that the current custodian of Bombay Paperie is aiming to highlight. He says, "This paper is thin, i.e, 65, 75 GSM. The thinner the paper, the better and thinner papers are difficult to make. When you have handmade paper, which is thin and crisp, it is made better," he says adding that people consider thick paper to be better for the usage. 

In the foothills of Daulatabad, three to four members of the same family still manufacture the same paper in the same way as it would be done in the 17th century during the reign of Jehangir. The legacy does not only lie in the generation-old art but also the paper as older the paper, the better, says Gajjar drawing parallel lines between paper and wine. “Paper also ages like wine. With time, the feel and texture of it changes. In Japan, people demand old papers for calligraphy purposes,” he says adding that the oldest paper that Bombay Paperie has is fifteen years old. 

Reviving the hand block printing method 

Maintaining to work with the master papermakers, the uneven situations in Gujarat in the early 2000s caused by the Godhara case and the earthquake also led Bombay Paperie to work with the master printmakers as they were unemployed. The paper is printed by hand in Ahmedabad using hand-carved wooden blocks. The last woodblock printers, who are also the descendants of generations of master printmakers print the paper. Each block is placed 12-15 times on the paper to cover each sheet with the antique blocks that they use.

While the wood block printing methods still exist for textiles, the craft of printing paper this way has now been replaced by silk screens. The entire process includes the paper travelling from Daulatabad where it is made to Mumbai where it is sorted out to be sent to Ahmedabad for printing before coming back to Mumbai. “It was a lot of work but we realised that it is solving the purpose of creating employment for a craft, which would die, otherwise,” says Gajjar, as he spoke to Local Samosa from Ahmedabad.

However, while Bombay Paperie would work with four such families back in time, there is one family working with them as Gajjar observes that the printers also take up other work within Gujarat for better livelihood opportunities. Having said that Gajjar seems optimistic about the survival of handmade paper as he says, “Younger generation across the globe might not be buying it for writing letters, because that is what the older generation bought these paper for, but they are using it for gifting purposes.” Gajjar also highlights that the handmade paper by Bombay Paperie is even sold to people based in the United States, Europe and Australia.

Amidst the irony of losing the physical state of the presence of a business that is thriving on reviving the physical handmade papers, it seems a new beginning for them to rekindle the old through contemporary approaches. Bombay Paperie is, now, working with other physical platforms to convey the importance of these papers. “There are certain crafts and certain skills which are inherent to human beings. Today, people are aware of these,” he concludes.