Papier-mâché (French for 'chewed-up paper') is an art form made of pieces of paper, sometimes reinforced with textiles, stuck together using a wet paste (e.g. glue, starch, or wallpaper adhesive). The crafted object becomes solid when the paste dries.Despite the French sounding name, Papier-mâché originated in China. Hundreds of years ago the Chinese made projects from it, which they hardened with layers of lacquer. It spread across the world and today you can make just about anything, using Papier-mâché.
Papier-mâché has turned out to be the present day medium in place of clay, which ensures longer duration of life, light in weight, elegance and easy portability. Sekar, a sixth generation artist of Papier-mâché clarifies, “Unlike clay models, the Papier-mâché has the added advantage of easy portability, less breakage chances and easy maintenance.” “The Papier-mâché dolls are easy to maintain and can be kept in glass case”, he says.
A form of papier-mâché had existed in China for hundreds of years until a much stronger version (including glue) was patented by Henry Clay of Birmingham England in 1702. It was a common technique for making dolls in the 19th century, before plastics became available. Piñatas are an example, as is one of the Papal Tiaras. Constructing papier-mâché is a common craft used to entertain children.
The professional technique of Papier-mâché involves inputs like paper powder, plaster of Paris, waste paper bits and pasting powder. Initially the original figures are made of clay based upon flight of imagination. Then the moulds are made with plaster of Paris, coir threads, cement and pasting materials. The mixture of paper pulp, sago flour and lime stone powder form the core parts of the body material.
To give strength wastepaper are pasted with adhesives like Fevicol covered by hard board, says Sekar. For joints iron wire is used whenever needed to ensure durability. As a matter of fact a delicate piece may be having 160 joints and these joints cannot be visible for layman's eyes, he adds. From the moulds any number of Papier-mâché dolls can be reproduced on commercial basis. Over the years these idols can be even repainted to give another lease of life.
According to Kalanidhi B Jayalakshmi, master carftswoman in Papier-mâché, however, the art form suffers set backs due to inadequate investment and glut in the market. Due to this she taps the potentials from abroad apart from local market for her art marvels, she said.
In Russia a variety of utilitarian as well as decorative objects have been fashioned from papier-mâché since the late 18th century. These items include wall plaques, trays, boxes, salt cellars, desk sets and paper knives, storage jars for tea and tobacco, album covers, beads cases, bracelets and brooches.
After the entire surface of the finished blank has been sanded smooth, several coats of black lacquer are applied to each article. It is then given to the artists for decoration. Highly complex and finely detailed miniature scenes are painted onto even the smallest black lacquered object. Russian lacquer art on papier-mâché has flourished for well over 200 years and has achieved the transition from folk art to fine art.
Papier-mâché was one of the first composite materials, and using the right techniques, it can build surprisingly strong structures. The paper of the 1800s was significantly more stretchable than modern paper, especially when damp. Papier-mâché paste is the substance, which holds the paper together. The traditional method of making Papier-mâché paste is to add water and flour in the ratio of 1:1. Some artists prefer to boil the paste, saying that it makes the consistency smoother (water to flour ratio is changed to five parts water and one part flour in this case). Other artists use a three to one or a one to one ratio of water and white glue. Still others say that starch makes a fine paste.
Presently, Papier-mâché is enjoying somewhat of a renaissance for its eco-friendly nature and is preferred to other artifacts made of resins fiberglass, latex rubber and artificial substances that are harmful to not only the craftsman, but the environment as well.
Padmapriya Manoj
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