Introducing a different base material in Kashmir was a significant step towards using a lighter material for the highly developed decorative patterns and ornamentations which were expressed on mud walls, wood and birch-bark. This tradition had already come of age with an extended delicacy of line, stylization of motifs and forms and excellence of chromatic compositions. A detailed study of the Harwan tiles near Srinagar and the Alchi wall paintings in Ladakh throw sufficient light on such well established traditions.

The first papier mache objects produced in Kashmir were kalamdans, long horizontal cases for holding pens, brushes and ink-pots, giving it the original local name of the craft, kar-i-kalamdani, pen-case work. Over time, the repertoire of articles grew and by the Mughal period in Kashmir history (1586-1782), included bedsteads, doors, window frames and panels for walls and ceilings. It is also said that most of the palanquins used in Mughal courts were specially brought from Kashmir. The Mughal seem to have been great enthusiasts for papier mache work, often commissioning entire communities of craftsmen to make gifts as well as decorative items for their palaces.

Some papier mache objects are made in wood and these fall in separate category from pure paperpulp objects. These items save time and labour and are made into cheap souvenirs. Generally, they are made from the light timber of the kayur variety of a forest pine (Pinus excelsa).

In an older form of wood-based paper-mache work, the shape was covered with a stretched layer of thin sheepskin, which provided a more subtle and smooth surface than paper and took colouring pigments well.