Mohammed Hussain Kagzi runs one of the few units making paper entirely without mechanical assistance. He is part of the extended Kagzi family, many of whom, like him, still make paper in Sanganer, near Jaipur. The name "Kagzi" means papermaker and can be traced back via Persia and Afghanistan to what is now western China. Mr. Hussain typically uses old jute gunny bags as his main raw material, although he also makes use of waste paper and cotton. The bags are first cut up into pieces about one inch square and then separated into individual threads. The fiber is soaked in a pit containing an alkaline solution. Like most Indian papermakers Mr. Hussain normally uses caustic soda but he recently made a batch using lime (essentially calcium hydroxide) and no waste paper (just jute and cotton). After some days the fiber is extensively rinsed and, after draining, a small amount is put back into the pit with a very small amount of fresh water. The fiber is then trodden until it is ready. There is no hammering or stamping, although old records indicate that traditionally a simple stamper would have been employed. The bottom of the pit is slightly roughened concrete and the shear forces and abrasion must have some hydrating effect, as the resulting paper appears quite well beaten. Sheets are formed on a flexible "chapri". This is similar to a Japanese su but is made with laid lines of kus grass secured by chain lines, which are now usually made of cotton thread but used to be horsehair. The chapri is supported on a heavy wooden frame by the kagzi, who squats on the ground next to the sunken vat. After dipping, the chapri is brought to the surface and levelled. It is then gently rocked while it is still in contact with the liquid below. In this respect it differs from both Japanese and European techniques where the shaking takes place after the mold is lifted clear of the vat. The chapri is then lifted off the framework and the sheet is couched off in the same way as in Japan and China. After pressing lightly, the sheets are brushed onto a specially prepared plaster wall. Mrs. Hussain is one of the few people now able to do this in Rajasthan but it is possible that the skill will be revived. Sheets dry flat and reasonably smooth and are less subject to extreme weather than those hung up or laid on the grass to dry. The paper is surface sized with starch (and is often internally sized with rosin and alum) and after drying again it can be glazed. Mr. Hussain is the only person I have ever seen glazing with an agate stone, although this may well be done elsewhere. The exceptionally smooth surface shows the direction of each stroke as it does in very old papers of this sort. This is one of the few household units in Sanganer still making sheets, although they also make loudspeaker cones. Mr. and Mrs. Hussain do all the work of making the sheets, apart from some casual assistance. In general terms, this type of small unit is inefficient compared to the more modern ones. However, the Hussains' overhead is negligible as they are making paper at home and have no capital invested in equipment. No energy costs are incurred; all of the cost is in raw materials and their own labor. Mr. Hussain told me that his neighbors think he is very old-fashioned and tell him he should give up his traditional methods. Unless the demand for traditional papers can be stimulated (which I am trying to do), he is likely to follow their advice in due course, since his sons are not very interested, loudspeaker cones are much more profitable, and he cannot compete directly with the big papermaking units on price.
