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  Kashmiri Orginal Saffron 05/18/2025 8:23am (UTC)
   
 

Kashmir's Saffron Heroines



Come autumn and the Pampore Karewa plateau, about 25 km south-east of Srinagar in Kashmir, turns purple - abloom with thousands of saffron flowers. Saffron (crocus sativus; or 'kesar' in Hindi and 'zafran' in Persian) is an exotic - and the world's most expensive - spice.

It is an incredible experience to watch hundreds of peach-complexioned Kashmiri women, with baskets on their backs, standing in the midst of a profusion of purple flowers. As they pluck the blossoms, the lilt of their voices wafts through the air as they sing their folk songs.

The cultivation of saffron - a natural food flavoring and color that also has general panacea properties - would have been impossible without these women. In fact, of the over 12,00,000 people of Kashmir directly or indirectly engaged in the cultivation and trade of the purple crop, 50 per cent of the workforce comprises women. Come harvest season - the autumn months of late October and November - and that gender percentage rises to 90.

Saffron is cultivated in about 226 villages in five districts, including Zeewan, Balhama, Khunamoo, Yachnambal (Srinagar), Khrew, Ludoo, Dussu, Khonibal, Chandahar, Nablabal, Basru, Lethipora, Sambora, Awantipora (Pulwama), Nagam, Sarwin, Hapathnar, Kakewring, Char-e-sharief (Budgam) and Kishtawar (Doda). Kashmiri saffron bulbs, which give a six to eight year yield, flower for around four to six weeks during those two months.

But that is knowledge the women of the region have grown up with. Rubina Magray, 19, is a class 12 student. She is also a fifth generation saffron-plucker. Rubina has been plucking the flowers ever year, ever since she was a child, tagging along with her mother and aunts to the family's fields in Parampore.





"Every October, I don my grandmother's phiren (a traditional Kashmiri warm cloak-coat) and join my sisters and aunts in the plucking of flowers. We sing, chat and spend a few weeks together, harvesting as a family," she says.

Sipping hot Kashmiri kehwa (a local tea flavored with saffron), at least a dozen young women of Mohammed Yaqoob's family toss saffron flowers into the air before sifting for any impurities.

But much before the young women are given their share of work, the elderly women of the family have already carefully dried the flowers out in the sun, to rid them of moisture.

"Drying the leaves requires skill. One has to be careful that the flowers do not burn with excess heat. I have done it all my life, for around 60 years," says Marzana Begun, 70, Mohammed Yaqoob's mother. "I have been involved with saffron growing, drying and packaging from the age of four as my father was a saffron farmer and then I married a saffron farmer," she adds.

In the neighboring house of Abdul Ahad, there is a similar scene. Many women relatives from different parts of Kashmir have joined the family to offer a helping hand. "Women are the best choice for the job as they have the patience to take tender care of the flowers. When we need extra help, we only hire women laborers because they are dedicated and can work with the women of our family," says Mohammed Mir, who owns around 500 hectares of saffron agricultural land.




Once dried, tossed and sorted, it is time for the flowers to be handed over to the menfolk. Stripping away the insides of the flowers, the men grade the saffron, now ready to be packed in moisture-proof containers.

Cultivating saffron is hard work. This can be gauged from the fact that a kilogram of saffron is obtained only after about 150,000 flowers have been plucked, sorted and stripped for their stigma (the female part) and stamen (the male part).

Interestingly, each saffron flower has three red stigmas, two stamens, and a long white stem, connecting all of this to the main flower. The stigmas represent the purest saffron, known as 'Mogra Zafran'. The stamens yield the inferior and less expensive variety, the 'Lacha Zafran'. The other parts do not go waste: the petals are eaten while the stems become fodder.
Sammer Azad, who annually exports 1,300 kg of the queen of spices, claims that Kashmiri saffron has been giving traders from Spain a run for their money. (Spain, Iran and Italy are other leading producers of saffron.) Azad says that Kashmiri women are the "real heroines behind the whole saffron story". They might not come be in the limelight but everyone involved with saffron knows just how much the women strive for the crop: they till the soil, and, most importantly, pick and gently dry the flowers. This is an art that can only be executed by women because it involves a lot of patience and effort." Azad provides employment to over 700 people, most of them women, in a state where jobs are hard to come by.





Saffron has been the most important cash crop of Kashmir since ancient times. Compared to the near-rival Persian variety, Kashmiri saffron has a strong aroma and color. Its stigmas are long and thick-headed and deep red in color. The smaller Iranian saffron stigmas are yellowish in color and almost half the price of the Kashmiri produce. This year, high quality Kashmiri saffron sells at Rs.100,000 per kilo as against Rs 60,000 to Rs 65,000 for the Iranian variety (US$1=Rs 39.23).

Meanwhile, the government is contemplating the grading of the Kashmiri saffron to counter its adulteration and proposes to export it through the Spice Board of India, which is based in Kochi, Kerala. Further, according to G. M. Pampori, President, Saffron Growers' and Dealers' Association, the World Bank has sanctioned a huge grant - Rs 100 billion - in October for the Kashmir saffron industry. The money is expected to give a fillip to research, facilitate better irrigation and soil enrichment. 

 
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Last Updated on November 2008
  Ravees Mir Says
The inspiration for the creation of the arts and crafts of Kashmir is the paradisiacal land of Kashmir in its physical and metaphysical meaning and expression. The artistic genius of the Kashmiri people as expressed in the fields of literature, poetry, literary images, shawl-making, embroidery, embroidered floor-coverings, wood-work and wood-carving, papier-mache and metal-work has been studied by the author, in the beauty of their composition, history, making and design movement.

The arts and crafts of Kashmir testify to the Kashmiri artist being a true lover of nature. Nature is reflected in the polished mirror of the designs and decorative patterns of ornamentation of the Kashmiri arts. Poetry in form to reach the realm of thought, idea, dream and vision that shows joy in this world as the world is joyful in Him.


The Kashmiri artist or craftsman can afford only two luxuries – the birds and the flowers – which grow wild, and the land holds one in charm by its free beauty. This natural beauty and the beauty of its arts and crafts have made Kashmir famous through the ages.

Also, Sufism, Islamic form of mysticism, has as in the case of the whole of the Islamic world permeated the Kashmiri society, though and literature and the philosophy f the creation of the arts and crafts of Kashmir, which also fulfill though in a meager way the economic needs of the maker. So it is metaphorically the desire for meeting the harmonious lip to express the pain of love, which results in the profound meaning of expression of the Kashmiri arts.

As in the weaving of the poetry of the harmonious beauty of shawls painstakingly, in one of the most difficult weaves of the world, each strand of thread moves in a static medium with such sinuous grace and force of expression as not only to enchant one in its fineness of grace and sensuous beauty but also to speak of the attractive, sensitive and appealing to the senses beauty – which intrigues, charms, captivates and absorbs the one touched and affected by it – of the land from which the materials of making and forming and composing and drawing the shawl spring forth. In a measure of transcendence the radiant and magnificent patterns and designs, in the case of Kashmiri metal-work, take back to the earth – from the material to the de-materialisation of the object afforded by the luminosity and movement of the line of the decorative pattern, though on the surface, to almost make one experience, if you like, something sacred – the bowels of which yield the raw materials and the rocks from which they are extracted. The Kashmiri embroidered rugs display the ‘soofyana rang’, while the wood-work and wood-carving praises the nature by taking it back to the woods. The papier-mache decorative designs in their miniature style of painting portray the verdant green and colorful landscape and the flowers in bloom and singing birds of the beautiful valley of Kashmir.

Nature speaks in the Kashmiri arts and crafts in the language derived mainly from Persian aesthetics a development of Islamic aesthetics – in the expression of the design of the arts; which has certainly taken Islam to be the influence and hence is born of the spirit of Islam itself.

The evolution of the significant and important ornamental design lay-out in Kashmiri arts and crafts is defined by the term arabesque with its centre being everywhere and nowhere to be seen as it is a continuous pattern so intricate as to make the eye tired of detail and carry it in a level of manifestation to the feeling, dream and vision of the transcendental meaning of life. It expresses the unity of existence in the continuous cycle of creation and re-creation with its underlying factor being that the things come and go but what remains constant is this very cycle and this passion and urge and love of creating and creation, celebrated by man by creating himself, as a defiance of nature (by creating a composition of a universe of art) but ultimately realizing his complete dependence upon it in thought, idea, dream, vision and material of existence and creating.

Thus there are levels of manifestation in the metaphorical and aesthetic expression (on the surface appearing to be endless cursive shapes, circles, polygonal figures and arabesque) to be explored and understood according to one’s knowledge and gift of ability to conceive the picture or the painting with its order, beauty, balance and harmony, which is truly man’s existence and which brings forth the expression of art. This beauty, poetry, music and dance of life is a way of bringing about recollection and of awakening within man an awareness of that supreme Beauty for posterity, of which all terrestrial beauty is but a pale reflection, for as Rumi says, as translated by Nicholson, that Kings lick the earth of which the fair are made. For God has mingled in the dusty earth a draught of Beauty from His choicest cup. It is that, fond lover – not these lips of clay – you are kissing with a hundred ecstasies. Think, then, what must it be when underfiled!

And the artist is a lyre whose strings are plucked by the Creator in a musical harmony with the embellishing ornament stylisd to the point of losing all resemblance with nature and obeying only the laws of rhythm – being a real graphic of rhythms with each line undulating in complementary phases, and each surface having its inverse counterpart for a balanced, harmonious composition – of the design of movement or the movement of design. Thus the ornament tries to stop the mind of the onlooker affected by it or the one who appreciates it and is absorbed in it from attaching itself on any particular form. This hindrance is to dissuade and stop one from arranging a definitive saying of “I” as an image says “I”.




Ravees Mir (Gemologist)

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