Sialkoti paper used by Pahari artists: raw materials and fibre analysis

Abstract

This study aims to characterise the so-called Sialkoti paper used to produce Pahari drawings preserved today in the Wereldmuseum in Leiden (Netherlands) (WML). These works originate from the Punjab Hills in India (today Himachal Pradesh) and are commonly known as ‘Pahari miniature paintings’. The paper upon which these drawings are executed is said to have been produced in Sialkot during the eighteenth and nineteenth centuries when papermaking was an integral part of an overall regional economy correlated with other sectors such as agriculture and the textile industry. Although the term Sialkoti refers to identified papermills in Sialkot (now Pakistan), the paper from this region is yet to be subjected to a systematic study. This article therefore explores the paper(s) in question through macro- and microscopic observations of structure, pulp and fibres. The study of historical sources, complemented by the analysis of paper samples and fibre identification, has revealed that the pulp would have been prepared from a variety of manufactured products using different technologies, such as rags, cloth, mats, rope and other plant-based materials made from local bast fibres which, once tattered, were recycled to prepare the pulp. Microscopic study reveals that a variety of fibre combinations under different conditions and processing steps were used, in particular sunn hemp fibre (Crotalaria juncea L.), a plant species that has until now rarely been identified in historical paper. In addition, the presence of kenaf and jute fibres, as well as a significant quantity of cotton fibres, have also been demonstrated. To overcome the lack of comparative materials, our work was supported by a comparative study of several materials made from sunn hemp now held in the Ethnobotany Collection at Kew Gardens. Samples were taken from these materials and provided useful reference micrographs for the identification of the WML samples. The quality of the paper used by Pahari artists, as well as the raw materials available and their processing, are discussed in detail. Putting all the data, including technical and historical information into perspective, we conclude that the Pahari artists used a paper of inferior quality compared to other types of paper used for other purposes such as the creation of illuminated manuscripts in the Punjab plains. This study therefore provides useful analytical and material evidence that complements previous historical, technical and anthropological studies.