The Divine Artform of Naqqashi & its Diminishing Lineage

June

2026

The magnificent floral drawings, mirror inlays, and gold-leaf manawat (embossed) work have defined the interior splendour of Gurdwaras for generations. Known as naqqashi (decorative art), the form has survived the test of time. However, today the last surviving lineage of master naqqashi artists are fighting, along with conservationists—including at Darbar Sahib (Golden Temple) in Amritsar, Gurdwara Guru Tegh Bahadur at Baba Bakala, Gurdaspur district, and Gurdwara Baba Bir Singh at Naurangabad, Tarn Taran district—to preserve their art form and its authentic techniques. In 1805, Maharaja Ranjit Singh invited skilled craftsmen from Chiniot (now in Pakistan) for the interior decoration and beautification of Darbar Sahib. These Muslim craftsmen decorated the first-floor ceiling of Darbar Sahib with intricate naqqashi and mohra-kashi (a form of curved mirror work). Led by master artisan Badarmuhiudin, these Muslim craftsmen continued to work in Amritsar and nearby historic Gurdwaras for nearly a century, sparking a cultural exchange that gave rise to a unique Sikh school of naqqashi. The word naqqashi comes from the Arabic word naqsh (to draw or create an image). Artist Harpreet Singh Naaz from Sri Guru Granth Sahib World University, Fatehgarh Sahib says, ‘The term itself reflects this art form’s Arabic-Persian roots and its development during the Mughal period. During the Sikh empire, a distinct school of naqqashi emerged, clearly different from the decorative traditions seen in Mughal monuments’. Maharaja Ranjit Singh's rule (1801–1839) is popularly known as Sikh empire. Naqqashi became so widespread in Amritsar that an entire street near Darbar Sahib became known as Gali Naqqashan (street of the naqqash artists). Many well-known artists lived and worked there, including Jawahar Singh Naqqash, Nihal Singh Naqqash, Amir Singh Naqqash, and Ganesha Singh Naqqash. Among naqqashi’s greatest artists was Gyan Singh Naqqash (1883–1953), an exponent of the Kangra School, who also documented the craft for future generations by authoring Panjabi books such as ‘Naqqashi Darpan’ and ‘Naqqashi Art Sikhya’. Professor from Himachal Pradesh University, Shimla, Dr. Balbinder Kumar who is involved in restoration work at Darbar Sahib, explains that traditional art survived through family-based artistic schools known as gharanas, which received patronage from Mughal rulers, hill states, Sikh rulers, and princely kingdoms. Art historian Subhash Parihar says that in today’s time government agencies and religious institutions have not done enough to protect Panjab’s artistic heritage (earlier coverage).