Kangir: A Traditional Fire-pot of Kashmir | by Akhshar Koul | Research Paper

Guest post by Akhshar Koul, B.A. (Hons) in Archaeology from Maharaja Sayajirao University of Baroda.

INTRODUCTION

The first time visitor to Kashmir will really and surely be surprised to find almost every Kashmiri in the countryside carrying a fire-pot filled with burning charcoal in their hands under a long, baggy rug covering their entire bodies called the ‘Pheran’. It may sound strange to anyone and at the same time anybody living outside Kashmir would be awestruck who has no idea about Kangir, its use and its importance in winters. This ancient portable heat source is a fascination for others but necessity for a common Kashmiri.

Cultures in every part of world are, to a large extent, determined by geography and the climatic conditions of that part, among myriad other factors. It is these culturally important things, which are peculiar and unique to every geographical area that give identity to the nations or ethnicities of the world. Kashmiri Kangir is one of the cultural assets which has given identity and ethnicity to Kashmir.

Kangir – A Traditional Fire-pot of Kashmir is a unique cultural asset of the people of the valley used to beat away the freezing temperature in winters lasting usually for more than five months. It attains more significance over other modern or ancient heating appliances for being mobile, portable, affordable and durable. It is a common site in entire Kashmir valley, especially in rural areas to find people irrespective of their age, gender, economic status, moving through the streets with fire in their lap in the form of Kangir. To stave of the cold, there is no alternative to Kangir as the raw material used in its production and artisans are readily available in abundance as against other resources like electricity and LPG heaters which remains almost unavailable during the winter season. 

Among the world’s most unique traditions, which are still in vogue as much as they were on the day of their first use, is the Kashmiri Kangir. Kangir is culturally specific to Kashmiris who have been using it since ages. In simple language we can say a common Kashmiri is incomplete without Kangir especially during the chilling months of winter. One of the prominent Sufi poet, Nund-e-Reush (Reshi) from Kashmir has said:

“Wandi Hamam tê Rekalé gaaw

Suai mali dunyahas aaw”

(Who has warm chambers for the winter and milk to drink

in summer and get dung to burn in winter is the most prepared one).

Kangir has been an integral part of Kashmiri people culturally as well as socially. Besides being a utility, it is an ornament to a common Kashmiri. We can relate Kangir of a common Kashmiri to the cultural or folkloric way of fighting cold.

The Kashmiri proverb “What Laila was to Majnu, so is the Kangir to a Kashmiri”. Such is the intimacy between the Kashmiri and his Kangir. This intimacy has been well illustrated by the writers, poets and thinkers of Kashmir in their literary works. The same intense relationship between Kangir and the natives of the valley has been well highlighted in a famous local poem:

“Mann me  zolum  lolle  naaren,

Tan  me  zejim  Kangre.

Waare  warey  pray  khejim,

Maye  lejim  Kangre.”

(My inner soul is burnt by the eternal love,

And my body skin by the Kangir.

Steadily, it made me so sluggish as in incubation,

So much intimate is my Kangir.)

Generally Kashmir markets are flooded with Kangiris during the winter season mostly from the month of November up to April but the use of Kangir can be witnessed from ending September in the areas of higher altitudes such as Gulmarg, Sonmarg, Daksum etc. The tribal people living in the foothills of middle and lesser Himalayas and Pir Panjal Ranges keep Kangir with them almost throughout the year. Such people experience a very hard life but they easily and readily manage the Kangiri fuel in the wild. In fact these are the people which supply most of the coal to urban markets and earn their livelihood.

HISTORY AND USAGE

Wicker work, pottery and Kangir weaving art has been prevalent in Kashmir since generations. There are hardly any written manuscripts to date back its history. However there are so many indirect evidences which point towards the fact that Kangir has been there from hundreds of years back. Since Kani and Kondal are indispensable parts of Kangir, these crafts are again believed to be residing in Kashmir from hundreds of years too. When did Kashmiris started to make use of Kangir? I asked this to an artisan, Mohd. Akram Shah (Akram Kaniyul) from Tral, Pulwama in an interview. According to him, Kashmiris in the ancient times used to go to Punjab to escape the harshness of winters and do some work there to earn their livelihood. Hardly anyone would stay back in Kashmir. Amid such winter migrations some ordinary Kashmiris in a particular winter did not migrate. They decided to steeve away the cold by keeping embers filled in earthen pots without any wicker usage, which is marked as the beginning of Kangir in Kashmir. When their fellows returned back they were sure to find the non-migrant Kashmiris dead due to extreme cold. But to their surprise they saw them well and healthy and were awestruck. These people were shown the discovery which was really an innovation. Kangir certainly has evolved. It would not have been the same thing as we see it now. The artisan further said, “Well! Even the earthen pot was not baked outright. It too evolved. First the man, who said ‘no’ to migration got the pot made up of mud and dried it, filled it with embers, but it not resist the temperature and ripped apart. It was only then he got the idea of baking the pot in fire so as to make it resistant. This baked pot was called ‘Mannen’. Since Mannen was a difficult thing to carry for it would get hot and was sure to bruise the hands or the body. It were the twigs from the mulberry tree from which the people used to encase the Mannen. It was a pot in the basket like thing”.

Some historians believe that Kangiris have come to Kashmir from Italy as Italian artisans visited Kashmir during Mughal period in summers. In Italy (where a similar device was known as ‘Scaladins’) and Spain, braziers were made in a great variety of shapes and were profusely ornamented. The same historians relate these braziers to the Kashmiri Kangir. Most of the historical data, however, do not support the view point that Kangir came from Italy. There are varied viewpoints regarding the origin of Kangir in Kashmir. Some attribute it to the invention of Zain-ul-Abadin (Badh Shah) and some others relate it to Mughal Emperor Akbar.

Marc Aurel Stein an Hungarian-British archaeologist, who translated Kalhana’s Rajtarangni (River of Kings) in English, refers to a situation in volume-1 of his a fore mentioned book, “Brahmans had assembled in Gokula to decide on who should be raised to the throne in Utpalas dynasty. They had come in coarse woolen clothes with beards scorched by smoke”. He further comments that the burn marks on Brahmins’ beards were evidently left by Kangir or brazier which has been in general use since earlier times.

M.A. Stein, opined that the name Kangir has been derived from the Sanskrit word ‘Kasthangari’ (Kash-wood, Anjarika-fire embers).

Maharaja Pratap Singh (1885-1925) is believed to be the architect of modern wicker art. It was he who established the first ever wicker craft training center in Srinagar in 1914 with Mr. Andrew as its first principal who belonged to England. Mr. Andrew introduced, for the first time, the English Salix in Srinagar. He planted the English Salix trees around Bagh-e-Ali Mardan Khan marshes. Such dwarf trees exclusively yielded the Salix wicker (Vir Kani). This training center imparted wicker weaving training to many local craftsman which were called ‘Shakhsaaz’.

Oral traditions have transcended from generation to generation defining the use of Kangir from the times immemorial. The same tradition is being followed by the current generations with slightest or no alterations at the artisan level. Common Kashmiris have been using Kangir in the winter months starting from November up to April and more so during the chilling months of December and January (the period of 40 sever cold days locally called ‘Chillai Kalan’ starts from 22^nd December). Usually and traditionally Kangir filled with burning charcoal (ember) is used under long baggy costume called ‘Pheran’, but nowadays it is used otherwise also under the blankets, shawls etc. Kangir being a portable heat source is also carried to the work places by the people. Generally, children and aged people are disallowed to carry Kangir outside their homes. While sitting, its use is safer compared to its use during sleep or moving outside. During the local scuffle, Kangir can prove to be a devastating weapon if thrown upon the opposite person or party. Such incidents do not very often occur but do have a rare incidence.

There have been attempts to alter the very basic structure of Kangir to make it a modernized equipment in homes and offices but the essence of Kangir could not be changed. The Kangir has always remained in its basic ancient shape with slightest modifications. In fact the local people of Kashmir prefer Kangir over all other modern appliances for the issues like expensiveness, less-availability of electricity, LPG, etc.

The fuel for the Kangir, usually charcoal, is locally prepared by the people in rural areas and is supplied on relatively cheaper rates to the urban population that is again the obvious reason for a common Kashmiri to use Kangir as a general source of heat to beat the cold.

There are so many forms of coal available in the market for its use in Kangir. The user, according to the requirement chooses the quality of coal (the forms vary in size, weight, hardness etc. which directly effects its heating property) and purchases it in bulk so as to store it for the longer period of precipitation and cold.

It is a common site in Kashmir that elderly ladies loading the Kondals of Kangiris with charcoal early at the dawn and burning its upper layer by hot burnt ash, burning cardboard, saw dust or simply the burnt straw. For hard coal (which is more durable and long lasting) one needs to blow more air for its ignition which is mostly provided by mouth or hand fans. It takes about half an hour daily to prepare a Kangir and usually 3-4 Kangiris are prepared on daily basis in a family. Usually a well prepared Kangir lasts for 16-18 hours with a moderate to intense heat. When more heat is needed, the stirrer or spindle (Czalan) is used to scatter the ash and bring up the burning ember below it. In rural areas people roast pieces of meat by sticking it to the inner surface of the Kondal. The entire small sized potatoes and eggs are also roasted in the Kangir which have a unique taste different from the boiled ones.

When a Kangir its use has to be put off, a heavy round and flattened (discoid) stone is pressed upon the burning charcoal and rested there for an hour or so. This is usually done late night after its full day usage. Before preparing the Kangir next day, the left over ash and the unburnt coal at the bottom of the Kondal are discarded and fresh coal is filled in. The unburnt coal is seldom mixed with the fresh coal usually during the dearth of fuel.

The fully exhausted coal, turned into ash after discarding it is still not a waste product. It is used in kitchen gardens to cover the top soil to make it soft so that the seeds germinate efficiently and the seed viability is increased. It also increases the soil fertility and the essential nutrients of soil are continuously replenished preventing the soil nutrient deficiency for its constant use.

RAW MATERIALS AND CRAFT PRODUCTION

The Kangir is essentially made up two parts viz. earthen oval pot and the wicker case. Both these parts have local origin and are not imported from elsewhere. A craftsman needs very little but unique tools including ‘Aend’, ‘Aear’ and ‘Zelan’. The Aend is a curved and sharp edged tool meant for cutting the wicker. Aear is a pointed metal rod like tool with a wooden handle meant for making the passage for wicker through the wicker network. The Zelan is a locally made wicker peeling device which again has sharp edges.

The earthen oval pot natively known as ‘Kondal’ is a wide mouthed earthen pot made locally by potters from fine clay and has a rounded bottom with a flat base. It is prepared by the potters exclusively for the preparation of Kangir.

The wicker case with 2 arms and a wide base is made out of different type of soft twigs generally obtained from the shrubs  growing in the wild in the countryside distributed almost althrough the valley. These soft twigs are called ‘Kani/Kane’ in the native language. The most common soft twigs (wicker) or Kani include ‘Posh-Kani’ (short and white in colour), ‘Linn-Kani’, ‘Ketzch Kani’ (dull brown in colour), ‘Viri-Kani’, ‘Geir Kani’, ‘Pakhir Kani’, ‘Puhir Kani’, ‘Fras Kani’, ‘Krele Kani’, ‘Dael Kani’ (6 ft. long and white in colour), ‘Rang Kani’ (coloured) etc. The people associated with this craft have to go miles together in the wild in search of fine and desirable wicker according to the suitability of the type of Kangir they intend to make. The wicker brought from the wild needs to be processed before its proper use. To increase the elasticity of the wicker, it is kept for days together under water which not only makes it softer but also enables the craftsman to remove their bark (peeling) easily. After this the wicker is sorted and graded according to the length and girth of twigs and the ones which are not straight are rejected. The fine, soft and peeled wicker is then sun-dried for several days and some are dyed in different colors. For weaving a Kangir the artisans need both peeled as well as unpeeled wicker for its different formations. The bushes from which the wicker is obtained are shrubby plants from which generally two harvests of wicker (Kani) are made annually. One harvest in ending May to the middle of June yields comparatively softer material and the one harvested at the end of September yields the hard wicker. 

There are two different phases for the production of Kangir involving the people from two different fields of art. One is pottery and other is wicker craft. For a potter to make a ‘Kondal’ the fine clay has to be well worked upon and well prepared to be given the proper shape upon the traditional wheel. It is then kiln-dried before sending them to the wicker workers.

The wicker encasing upon the ‘Kondal’ makes a complete Kangir which is the domain of wicker craftsman. They get the Kondals from the potters and start weaving the network of ‘Kani’ to cover the whole ‘Kondal’. Initially the base is woven which is called ‘Czhok’ on which rests the ‘Kondal’. From the base thick wicker are woven vertically upwards keeping regular distances in between like pillars in buildings. These upright thick wickers vary in number from ten to twenty-four depending upon the type and the durability of the Kangir. The basic number is usually ten and such Kangir is called ‘10-Puheir’ (Deh-Puheir) Kangir. Accordingly 12, 14 or 24 upright twigs used give rise to ‘Bah-Puhier’, ‘Czodha-Puhier’, ‘Czowuh-Puhier’ respectively. 

The fine network of more soft and thin twigs is interwoven around these vertical twigs from the base (Czhok) upwards. The artisans use different colored twigs for different turns of weaving one upon another. The wicker interweaving around the vertical twigs from the base up to the mouth of the Kondal is a repetitive process and a fine art which is restricted to the fine hands of the Kangiri artisans. From the base up to the mouth of earthen pot, the whole wickerwork along with the Kondal is called ‘Dhad’ (Body of the Kangir). 

From the mouth of the Kondal upwards, the vertical wickers give rise to the upper part of the Kangir called ‘Koup’. All the upright twigs do not form the ‘Koup’, only the ones at the designated backside contribute in the formation of the ‘Koup’. The others are cut or bent down towards the inner side in between the Kondal and the wicker encasement. The Koup is again a network of twigs, generally vertical which comprises of two handles for the hand grip tied together by a knot.

(Gand or Koup Gand) at its apex using very soft wicker twigs. From the back side all the vertical twigs are joined in threes or fours to the twin handle. At the point of junction there is a wicker ring (Kourr) at the back just below the knot to hang the ‘Czalan’, the spindle/stirrer usually made of wood (occasionally made up of metal) tied by the help of a string.

The ‘Dhad’ and the ‘Koup’ together make a Kangir. In rural areas, some poor families use only the ‘Kondal’ in place of Kangir with certain alteration. Such Kondal without any wickerwork having the handles is called ‘Mannen’.

Since the basic structure of the Kangir is same everywhere in Kashmir but slight to large variations are witnessed in the makeup of Kangir at different places. Apart from spatial variations there are certain other variants of Kangir which the artisans make keeping the social and economic status and the tastes of the buyer in mind. Some well-known variants of Kangir on the basis of spatial variations are:

1. Bandpur Kangir
2. Tchrar Kangir
3. Trale Kangir
4. Herpur Kangir
5. Zeingir Kangir

Variants of Kangir on the basis of its structural ornamentations include:

1. Dabedar Kangir
2. Dooredar Kangir
3. Pachhdar Kangir
4. Zaeildar Kangir
5. Cheshedar Kangir
6. Mahrin Kangir
7. Wudd/Isband  Kangir
8. Shishar Kangir
9. Tapan Kangir
10. Dali Kangir
11. Roinni Kangir

On the basis of types wicker twigs used, the Kangir can be identified as:

1. Posh Kangir
2. Linn Kangir
3. Kzetch Kangir
4. Vir Kangir
5. Mannen (without wicker encasement)

The distinctive qualities of Kangir vary with its different types keeping the basic essence intact. An artisan from Tchrar-e-Sharif, Ali Mohd. Dar (Ali Kaniyul) has been weaving Kangir since last 40 years with the distinction of having great expertise for the renowned ‘Tchrar Kangir’. He owes his efficiency of art to better deeds of his forefathers and relates it to the divinity. According to him and the other such workers of the area, the Kangir weaving art especially that of Tchrar Kangir is the blessing of ‘Nund Rishi’ the famous Sufi saint of Kashmir.

MARKETING AND CRAFTS CONDITIONS

It becomes a more cherishable virtue when any invention of great importance has a native origin and local use. Initially Kangir was only a necessity but now it has attained the status of a big venture which not only serves its primary purpose but also has a great economic impact on a large set of population who are wholly or partially associated upon this craft.

At the beginning of the season, when the slight cold begins to start, the Kangir shows its presence in the markets and with every passing day high heaps of Kangiris get continuously sold with a great demand. The artisans have to be well prepared before the onset of cold to meet the demands of the market. The full time artisans spend almost all the time throughout the year in collecting wicker, drying, processing and manufacturing the final product for being totally dependent upon this art for their livelihood.

With the betterment in the general economic condition of the masses owing to various governmental and non-governmental schemes, the artisans too have been able to upgrade their conditions as the affordability of the common consumers according to their tastes has exponentially increased. Some families have sustained their livelihood since decades solely on the wicker art by getting the raw materials themselves and then processing it and manufacturing the product on their own. They have turned the confined art into an industry and have made it an economic venture with very little investment. Such artisans have been able to change their economic status by getting better marketing facilities in urban areas which was otherwise confined to the rural habitations only. The road connectivity has contributed a lot in shaping the future of these artisans and the art itself. Kangir art is not confined to wicker artisans only but it has attained a multifaceted status in the manufacturing sector as it has directly affected the financial conditions of so many allied workers like potters, laborers, transporters, wholesale dealers and the retail sellers. Indirectly the Kangir art has also benefited the economic conditions of both local as well as non-local charcoal suppliers as with the increased demand of Kangir, the demand of charcoal is also increased.

The important constituent of Kangir, the Kondal (the earthen pot) meant for keeping the burnt charcoal is being supplied by the potters which has made it convenient to keep their art still prevalent in the valley, otherwise the pottery art would have been extinct by now. Not only has the Kangir art influenced the potters economically but also has been able to preserve this rare and cultural asset (pottery) of Kashmir till date. 

With the passage of time, where the actual manufacturing cost of Kangir has almost doubled; its demand and market price has increased many fold, positively influencing the artisans’ economy and livelihood.

The market price of Kangir varies from place to place depending upon its type and durability. For a common man, a better Kangir is the one with better wicker and a big broad Kondal to last long and harbor more charcoal. There are some others who love to buy more ornamented Kangiris compromising the durability. The people with the trade, knowing such tastes of the customers fluctuate the price of the Kangir. Such price fluctuations are again under the control of changing climates and general local weather conditions. A simple, moderately durable Kangir is within the purchasing capacity of a common man and ranges between ₹100 and 250. Some Kangiris such as ‘Mahrin Kangir’, used in wedding occasions are more expensive for their beautiful ornamentation and better looks and range from ₹800 to 2000. 

With the industrial revolution and the advancement in technology the lifestyle of the common masses changed in such a way that the life of the people living even in remote villages became comfortable to live. New gadgets replaced the traditional equipment and many such traditional things became irrelevant and obsolete. There are number of heating appliances being used by the people world-over and Kashmir is no exception. Electric heaters, gas heaters, hot air blowers, central heating systems etc. are being used in common households across the valley. Despite all this the use of Kangir has not diminished in any way. In fact the manufacturing of Kangiris has manifold increased with the passage of time because none of the modern heating appliances could replace this traditional source of heat for its various virtues which the modern appliances usually lack e.g., its portability, affordability, convince of use, non-dependence on electricity etc. The scarcity of water in winter vis-à-vis the less availability of electricity makes Kangir more efficient and readily available source of heating.

The wicker art, pottery and overall Kangir manufacturing has not attained an industrial status in the UT of J&K because of the callus approach from all the governments so far. Till now no concrete step has been taken to establish these arts as cottage industries or small scale industries. It has always been an added disadvantages to the already miserable conditions of the artisans depriving them from the opportunities they could have got if any government or any non-governmental organizations would have stood in their favor. This industry could have flourished well and the families associated with this craft would have been benefited directly and their life status and economy would have been upgraded. Presently, this art gets transcended from generation to generation only but once this art is given a status of an industry, it can flourish so well that it will open new employment opportunities and will not remain confined to a few communities. Its area specificity will be reduced with greater involvement of people that will directly have bearing on the economic condition of the people.

RELIGIOUS AND CULTURAL PERSPECTIVE

Apart from its prime usage, Kangir has a unique cultural and religious importance too. In Kashmir varied faiths of people live together in harmony for having certain common cultural and religious practices wherein the use of Kangir is indispensable. Being one of the important cultural assets, Kangir has attained a high sanctity in most of the cultural festivals celebrated by the people of all faiths.

Hookah has been in use from ancient times in Kashmir and people have been using it irrespective of any religion. The ember of Kangir is being used to burn the wet tobacco using blunt forks (Chumte). Where there is Hookah, there is Kangir as well, as is seen in most of the rural households even during the summers also.

Almost all cultural/social festivals in Kashmir begin with burning of ‘Isband/Vudhe’ (Peganum harmala seeds) similar to lighting of candles in the inaugural functions of events elsewhere. The burning of Isband yields the smoke with a unique aroma having a characteristic fragrance which soothes the mind and soul, believed to repel away the evil and negative energies. Isband is not generally burnt in ordinary ‘Tapan Kangir’ (non-ornamented Kangir used only for heating by the common people) but in special Kangiris; well-ornamented and well decorated called ‘Isband Kangir’ is used for this purpose. Such Kangiris are ordered on demand and costs high. Such practices of burning Isband in specialized Kangiris can be witnessed in common Kashmiri wedding ceremonies irrespective of the religious faiths. The Kashmiri Pandits call it ‘Isband’ and ‘Isband Kangir’ whereas the Kashmir Muslims refer it as ‘Vudhe’ and ‘Vudhe Kangir’.

The religious importance of Kangir is mostly confined to the Kashmiri Pandits who on almost all the occasions use Isband vis-à-vis Kangir.  In wedding ceremonies of Pandits, there are many religious events like ‘Devgon’ (the sacred bath and puja before wedding), ‘Lagan’ (the event of marriage with the narration of Vedic hymns) etc. wherein the burning of Isband is mandatory.

Kashmiri Pandits celebrate a festival having both religious and cultural importance known as ‘Shishur’ (the grand invitation to the relatives and friends on Shishur-maas of the first year of the new bride or any new-born in a family). On this occasion a well decorated, colorful Kangir, without coal, having empty Kondal, is kept in front of the bride or the new born in which the invitees are supposed to put money according to their will as a token of love and blessings to the bride in particular and the whole family in general.

On ‘Mekhal/Yagnyopavit’ ceremony (wearing of sacred thread/Janaue with Vedic sermons) of young boys, Kashmiri Pandits again use Isband at its various stages during the entire ceremony.

The Brahmins and Purohits are given Kangir, clothes and other things of use along with the ‘Dakshina’ on almost all the religious occasions. Such things are also offered to the Brahmins on the ‘Kriya Karam’ and death anniversaries. 

Burning of Isband in Kangir is also practiced by the people of other religions. Sikhs and Muslims too follow the same tradition on marriages and cultural ceremonies in Kashmir. The use of Isband is also practiced by the people to eradicate the so called evil from the household. It is believed that the evil spirits invading one’s body are swayed away by the aroma of Isband burnt in a Kangir. Such practice is wide spread in the valley.

Muslims also use ‘Vudhe Kangir’ at various occasions like marriage, circumcision, ear piercing of girls etc. Vudhe is burnt at the time of buying cloths for the bride or the groom, at the occasion of starting the ‘Chula’ for preparing the dishes for the wedding ceremony.

‘Mahrin Kangir’, highly ornamented Kangir with pendant rings is given to the bride at the time of her departure from her to the groom’s house as the symbol of care, affection and love. This Kangir is a highly decorated Kangir and generally kept as a memorial for a long period of time. Mahrin Kangir is an expensive Kangir which is prepared only by the expert artisans which needs artistic expertise and great experience. It is not usually available in the market and is ordered months before its actual use.

As a prime cultural aspect every Kashmiri, during winters is found associated with the Kangir all the time with a long cape ‘Pheran’ over it. It is seen as an essential item belonging to every individual from the month of November to April. This period being the idle period, the people of different age groups are seen sitting in separate groups, gossiping about the different issues of social, political, economic and religious importance with soothing warmth of burning ember in their laps during the day time.

The young boys and girls during the harsh winters do remain busy with different type of indoor games that are played while sitting and having Kangir under their Pheran. Such playing groups, cherishing the warmth of Kangir is a very common sight in Kashmir especially in the villages where agricultural practices are totally halted due to sub-zero temperatures in winter.

MEDICAL AND ACCIDENTAL ISSUES

Most of the people in Kashmir better know the perfect use of Kangir and the time duration for using it. Almost every ancient or modern appliance, if operated improperly, can be a bane and Kangir is no exception to it. There are certain medical complications known, caused by the excessive use or imperfect use of Kangir in many people. There is a tolerance limit of skin for the temperature and the direct heat radiations beyond which the skin begins to react unusually giving rise to medical complications including allergies, burns, scars, tanning or some other serious issues.

The duration and intensity of heat plays an important role in causing such skin complications. The Kangir harbours the burning coal and at times emits severe heat beyond ones tolerance and sometimes there is moderate heat but prolonged durations. Both ways the result can be harmful affecting the skin directly, more so in case of people having sensitive skin.

Under prolonged exposers and intense heat the skin, at the points of contact, is adversely affected initiating with the change in skin color from normal to violet and then to red. This is the initial effect which can transform into severe skin burns, damaging the inner layers of the skin and sometimes leading to skin cancer also known as ‘Kangir Cancer’.

As per the medical reports the Kangir-burn cancer is a local disease having a local cause and does not qualify for the general theories of cancer. Usually such burn affected people are locally treated in local hospitals except a very few with extremely severe complications. With the advancement in medical field, there are sufficient facilities in the local hospitals to effectively treat the patients with Kangir-burn cancers by way of surgery as well as medication. Legs, inner thigh muscles or abdomen if exposed to intense and prolonged heat of Kangir may develop the complications of Kangir-burn and skin cancer.

In early times the moderate scars and mild burns were treated locally by applying mustard oil few times a day which usually proved effective in treating such burns. Under extreme situations only the medical aid was sought. Nowadays with the improvement in the economic status, the people have access to better clothing that helps them prevent such complications.

Some more medical complications do result, when low quality of coal is used in the Kangir, emitting harmful fumes. Such fumes are directly inhaled by the user causing bronchial disorders and at times asthma or bronchitis.

Kangir related accidents, though rare, are also reported from different parts of the valley continuously bases. Some among these are actual accidents but others are deliberate attempts to cause harm to other. The local fights, heated arguments and scuffles, at times, result in throwing the loaded Kangir upon one another causing severe burn injuries especially on one’s head. Such incidents may cause face injuries, face burns and even complete blindness. At times, these injuries can prove fatal.

Excessive and callous use of Kangir has proven dangerous and has caused many accidents and even fires damaging properties. People have been using Kangir from early morning to late night in general but some people occasionally use it during the night in their beds. Most of such people hold it well all through the night but there some instances where the people lose the grip of the Kangir while in sleep and its ember gets scattered, burning the bedding and clothes. Such incidents can have huge destructive impacts upon the life and property of the people.

CONCLUSION

Kangir, being a heritage product, has not evolved much and has to a larger extent, retained its original makeup. Despite its historical importance, it is an extremely essential item of continuous and regular usage in Kashmir. Kangir is so familiar product that it can be seen in all the Kashmir households during the winter season. Interestingly, Kangir does not have any gender versions. It is same for all the genders, all the age groups without any religious bias or any social status. 

With advanced technologies and scientific revolutions, Kashmir markets, along with the entire world, are flooded with sophisticated heating appliances but none could reduce or fade away the importance and utility of Kangir. The more advantage added to the Kangir is its portability and mobility. The people take it with them at their workplaces or even to the markets under Pheran held by its handles. Having two handles, it becomes convenient for the people to carry it either ways – by left as well as right hand.

It has survived many revolutions since its inception. Since its historical background is not totally evident but there are various evidences which point toward the fact that Kangir would have evolved since ancient times because necessities have always been there at the back of every invention.

The winter in Kashmir is so harsh that Kangir has attained an important status to beat away cold and make the life of a common Kashmiri comfortable. The less availability of electricity and LPG during winter season adds more scope to the Kangir to combat the chill.

Wicker art and pottery being indispensable parts of a Kangir have not still been given the status of an industry but the art is still flourishing in Kashmir for its constant demand in the market. Apart from being the source of heat, Kangir has been providing economic sustenance to a very large group of artisans and many such workers who are associated with this art. It has directly or indirectly raised the living standard of the families of the artisans spread across the valley, mostly in the remote rural areas. Further, the Kangir has been an item of great fascination for the visitors who usually travel to Kashmir during winter season. The tourists are so enthusiastic about Kangir that they usually buy it from market and take it along as a token of memory.

Irrespective of religion and social status, the Kangir is being used in almost all the religious festivals to burn the seeds of Isband to emit the aroma, thought to be scared, soothing, destroying the evil forces and neutralizing the negative energies around the place. The use of Kangir is more prevalent in the religious festivals of Kashmiri Pandits who usually treat the fire as a sacred entity. However, the burning of Isband in Kangir on cultural festivals is practiced by almost all the people belonging to all religious sects. 

Despite having immense advantages, Kangir has posed some accidental as well as medical complicacies. Kangir burn is one of the main curses of this product. It is caused by continuous and prolonged use of Kangir with high calorific value coal. Mild and average heating varieties of coal used in Kangir do not pose any such threat. If mishandled, Kangir can lead to huge, disastrous fire incidents and can cause loss of life and property. Many a times, we have been the prime witness to such incidents.

We can infer that Kangir, to a very large extent, is a boon the humankind in Kashmir if handled properly with care. It has proven to be an unsubstituted tool used for the abatement of chill in the valley of Kashmir. Its origin, raw materials and artisans are all indigenous. It is an ancient cultural heritage that has remained almost unaltered since its inception.

REFERENCES

• Abbas, M.; Wali, M.; Shams-ud-din, L. & Miskeen (eds). (1997). Kashmir Encyclopedia. Vol.3. Srinagar: J&K Academy of Art Culture & Languages. Pp.254-262.
• Chaman, C. L. (1985). Sheeraz: Kashmir Ajaibaat. Srinagar: J&K Academy of Art Culture & Languages. Pp.28-38.
• Elmslie, W. J. (1866). Etiology of Epithelioma among the Kashmiris. Indian Medical Gazette. Vol.1 (11). Pp.324-326. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5170252/
• Mattoo, A. M. (1988). Kashmir Under Mughals. Srinagar: Golden Horde Enterprises. Pp.183-208.
• Pandit, M. A. (2011). Festivals of Kashmir. Srinagar: Gulshan Books. Pp.23-28.
• Stein, M. A. (1979). Kalhana’s Rajtarangini: A Chronicle of the Kings of Kashmir. Vol.1. Westminster: Archibald Constable & Company, Ltd.
• Sufi, G. M. (1945). History of Kashmir. Vol.1-2 Lahore: The University of Punjab.

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All photographs by Akhshar Koul (unless otherwise stated).