Kashmir shawls

2.  A shawl (Persian , Shāl, from Sanskrit: śāṭī) is a simple item of clothing,
loosely worn over the shoulders, upper body and arms, sometimes also
over the head. It is usually a rectangular or square piece of cloth, often
folded to make a triangle, but can also be triangular in shape to begin
with. Other shapes include oblong shawls.
 The first shawls, or "shals", were part of traditional Persian costume in
Achaemenid Persia, worn by both males and females. Shawls were also
part of the traditional male costume in Kashmir, which was probably
introduced via assimilation to Persian culture. They were woven in
extremely fine woollen twill, some were even said to be so fine as to fit
through a ring. They could be in one colour only, woven in different
colours (called tilikar), ornately woven or embroidered (called ameli).
 Shawls are used in order to keep warm, to complement a costume, and
for symbolic reasons. One famous type of shawl is the tallit, worn by
Jewish men during prayers and ceremonies.

3.  Kashmiri Shawls were high-fashion garments in Western Europe in
the early- to mid-nineteenth century.
The shawls made in Kashmir occupy a pre-eminent place among textile
products;
The Kashmir shawl is characterized by the elaboration of its design, in
which the "cone" pattern is a prominent feature, and by the glowing
harmony, brilliance, depth, and enduring qualities of its colours. The
basis of these excellences is found in the very fine, soft, short, flossy
under-wool, called pashm or pashmina, found on the shawl-goat, a
variety of Capra hircus inhabiting the elevated regions of Tibet.

4. There are several varieties of pashm, but the finest is a strict monopoly of the
maharaja of Kashmir. Inferior pashm and Kirman wool a fine soft Persian
sheep's wool - are used for shawl weaving at Amritsar and other places in the
Punjab, where colonies of Kashmiri weavers are established.
Of shawls, apart from shape and pattern, there are only two principal classes: (I)
loomwoven shawls called tiliwalla, tilikar or kani kar - sometimes woven in
one piece, but more often in small segments which are. sewn together with such
precision that the sewing is quite imperceptible; and
(2) embroidered shawls--amlikar - in which over a ground of plain pashmina is
worked by needle a minute and elaborate pattern.

5.  KASHMIR SHAWLS
 Explore our authentic, intricately embroidered shawls brought
to you from the agile hands of dexterous artisans in Kashmir
weaving exquisite fabrics. Available in intricate designs, finest
hues, these shawls are reflection of Indian culture.
 EMBROIDERED KASHMIR SHAWL
Description :
Embroidered with the patterns of fantastic flowers and leaves,
Kashmir shawls exhibit the natural beauty of the Kashmir. Nice
fringed enhance their elegance.
 KASHMIR SHAWLS
Description :
Knitted by adroit craftsmen, light weighted Kashmir shawls
featuring the rich hand embroidery of paisley & wavy designs
mix the warmth with the beauty.

8.  The Kashmir shawls developed over three hundred years,
through four different periods of political rule, during which
Kashmir was ruled by
1. Mughals
2. Afghans
3. Sikhs
4. Dogras
Each culture brought its own unique contribution

15.  There were basically 3 kinds of shawls:
1. The Dochalla or long shawl of pre Afghan period displays
prominent characteristics. In addition to colours, the ornamentation
was strictly reserved for the extreme ends or pallas and the narrow
borders which ran along the length of the shawl. The matan or
centre field of the shoulder mantle was usually devoid of additional
decorative weaving. Two identical ones have remained sewn back
to back which is the original idea of Dochalla or twin shawl. There
are two basic types of long shawls of Sikh period classic and
modern. The tapestry shawl was created by the modern school of
design. In the Dogra period the method of construction remained
the same but was modified slightly due to the sweeping designs
generated by the jacquard loom. To these embroidered fringes are
added.

16. 2. The patka or waistband may be found decorated with various
overall patterns of small designs such as floral, stripes or wavy lines
which demonstrate the Kani technique. Size – 70 cm by 460 cm.
3. The rumal or square shawl was cheaper in price and took less
time to weave, it represented many of fine decorative features and
qualities of expensive court shawls of the Mughals. The most
frequently found is that of the Dogra period. It is composed of many
pieces, each piece containing a part of the total design.
Vase – shawl : leafy vases arranged in a complicated fashion and
entangled with all sorts of strange botanical forms. Any fraction of
the ground which might have remained plain was completely filled
up with tiny nodescript sprigs. Special fringe, made up of hundreds
of small pieces of finely embroidered pashmina sewn together in a
overlapping fashion and then embellished with additional
embroidery which hid the seams.

19. Motifs

23. KANI SHAWLS
Kashmir shawls were known as Kani Shawls and also as ‘Jamawars’. Woven in the
Twill Tapestry technique, the weft threads of these shawls alone form the pattern.
They do not run across the full width of the cloth but are , by means of wooden
spools known as ‘tojli’, woven back and forth across each section of the warp
threads using the particular colour that part of the pattern requires.
In the 19th century, there was a minor revolution in the weaving of the traditional
kani shawls of Kashmir, the demand for which was ever increasing. Instead of being
woven as one piece, now the shawl was woven in long strips on small looms. Due
to the large areas of design to be woven, the pattern was broken down into
fragmented parts, each woven separately, at times on separate looms, and then all
these pieces were pieced together, rather like completing a jigsaw puzzle, and then
they were stitched together by a rafugar (needle worker) with stitchery so fine as to
make the joins virtually invisible.

24. The shawl ground cloth was prepared by being rubbed on the flat surface of a plank
until it was perfectly smooth. The pattern to be embroidered was then pounced on to
the cloth with coloured powder or charcoal, and then embroidered in satin or stem
stitch, each stitch made to lie as flat as possible by picking up warp threads
individually. Maps of Srinagar were a favourite design and shawls embroidered with
human figures were also very popular.

25. Floral forms in the kani weave take on a characteristic angular appearance and a
flickering effect in areas of colour change as the warps show through the twill-tapestry
technique.
The weaver, who was always a male, carried out almost all the different processes
involved in weaving a shawl, often preparing the simple designs of the early period
and making the cards which defined the pattern, as well as selling the shawls. The
shawl was woven with the underside facing the weaver so if these instructions were
misconstrued, defects might not be noticed until a few hours later.

26. The process of tapestry-twill weaving was extremely difficult and time consuming on
account of the fineness of the materials and the laborious weaving procedure. The
actual weaving of the shawl was the final step in a highly specialized and complex
number of individual processes and operations necessary to prepare the raw material.
First was the collection of raw materials and its preparation for spinning. Next this
material had to be spun into thread to be used by the weaver.
Then these threads had to be dyed. Then the loom had to be set up and the warp
threads, those that provide the foundation, had to be strung. Finally the weaver would
then be able to begin work weaving the shawl based on a design previously prepared
by a designer and another person who translated the design into a weaving diagram.
The finished shawls would be taken to the merchant who only paid the weaver if he
was satisfied with the quality. The shawl would then be clipped to remove the loose
threads at the back, washed, stretched and pressed to give a surface sheen.

28. COLORS
Pashmina fleece colours range from winter white, grey, red, brown and black.
However, the fabric adapts itself beautifully to colouring. It is now available in
approximately four hundred colours and the "graduated" colour scheme is definitely
'in'.
The colours most commonly seen in Kashmir shawls are yellow, white, black,
turquoise blue, green, purple, crimson, & scarlet.
STITCHES
The stitches used are simple, the chief being the satin stitch, the stem stitch & the
chain stitch. Occasionally the darning stitch & herringbone stitch are also used.
Crewel embroidery is done with the use of hook.
Kashida is a general term for Kashmir embroidery which include other stitches such
as Zalakdozi (chain stitch), vala-chikan (button hole), doria (open work), talaibar
(gold work).
Rafoogari which means darning derives its name from the stitch. It is worked with the
same type of material as that if the base so that the interweaving produces a fine
texture in the fabric.

30.  Kashmir Shawl of 19th century – cross border intricately woven
Kashmir shawl has the tree of life motif. At each end are broad
flowing borders and smaller guard borders. The small green edging
was woven by a separate set of weavers, as was the end border.
The latter is similar to the narrow borders used on the dhussa, a self
coloured woollen shawl traditional worn by men. The finishing of the
shawl is done with multi-coloured pieces joined together and richly
embroirdered.
 Tapestry woven Kashmir Shawls of 18th & 19th centuries were woven
on very simple looms.

32.  This long shawl with an elongated paisley pattern, a highly
stylized ‘tree of life’, was woven for the European market.
 Though the centers in France and England were already
producing shawls with the use of jacquards, the price of the
shawl is high.

36. DESIGNS & MOTIFS
Comparing the shawls of two hundred years
ago with those of today, we find in the
modern specimens a greater boldness and
freedom of outline, with a growing power of
colour combination. From purely
geometrical means there is distinct
movement towards conventionalizing
vegetal forms– the monotonous curves (a
local variation of the Indian pine pattern)
and circles giving place in great measure to
trailing tendrils and spiral ornaments. The
Muslim faith forbids any imitation of animal
forms: hence we find none of the beautiful
birds of Kashmir, the hoopoe, the bulbul, or
the blue kingfisher, amongst these flowers.
Indian taste demands three things of the
decorator: fineness of detail, brilliance of
effect, and profuseness. This is natural in a
climate which produces the beautiful in
splendid masses without relief or pause. It
is the flower-jewelled villages of Kashmir
that are reflected in the national industries.

37. Paisley woven wool and silk shawl
with a typical allover design
During the eighteenth century most shawls had
an empty centre with decoration limited to the
fairly deep end borders showing a row of
repeating flowering plant forms and very
narrow side borders filled with small flowers
and meandering vines.
By 1800 the cone of flowers began to lose its
naturalistic floral origin altogether and became
a conventional form, which was later elongated
and transformed into a scroll-like unit, as part
of a complex all-over pattern. Later during the
eighteenth century the design evolved to look
like a dense floral bush much like the bent-
tipped cypress motif that it eventually merged
with it and early in the nineteenth century
began to resemble the original cypress design
exactly.
The shawls are embroidered in floral motifs,
various designs available range from
Neemdoor, Doordaar, Paladaar, Baildaar,
Jaalis and Jammas, with the help of needle.
Where as kani shawls are woven on looms
with the help of kanis. Kanis are small eyeless

38. Shawls from Kashmir are popular because of the embroidery done on them. The
craftsmen of Kashmir, to beautify shawls use different stitches. Sozni or fine
needlework is generally done on the side of the shawls. The value of the shawl is
determined by the amount and quality of the embroidery. The traditional Kashmiri
dress;
Phiran is also endowed with rich embroidery. The finest embroidery from Kashmir
can be found on Pashmina shawls. Sometimes the entire surface of these shawls is
covered with fine embroidery.
Chain stitch is popular in Kashmir and is done using wool, cotton or silk thread. A
hook is used instead of a needle, as it covers more area than a needle. Embroidery
is done on a piece of plain white cloth and small stitches are used to create figures
and motifs in bright colours. The background is also made up of a series of
embroidered coin shaped circles, which add dynamism to the entire structure of the
work. Chain stitch is used to create chain stitch rugs or Gabbas.

39. Phiran
The people in the state of Jammu and Kashmir wear a traditional beautiful long
sleeved tunic known as phiran. Phirans are made of woollen fabric to keep the
wearer warm during the severe winters of the valley. A woman’s phiran is stylish
with colourful embroidery at the cuffs, neck and edges. Interestingly, a phiran is
unisex in nature and worn by all sections of the Kashmiri society. The men’s
phiran is more sombre, in grey or brown fabric with little or no embroidery.

40. Kashmir is very popular for its Pashmina shawls. These shawls are made from
the traditional woolen textile. This woolen textile is obtained from the mountain
goat. These shawls have intricate thread work done on them. These shawls have
work done on both the sides. Kashmiri embroidery is called kasida. The special
feature of the kasida work is that it is done in such a manner that the patterns
appear in a uniform fashion on both sides of the fabric. The Kashmiri stoles are
very popular. Many Kashmiri women who follow Islam wear the abaya.
As far as the clothing is concerned the phiran is a commonly worn garment. It is
a gown usually made of wool and has a lot of embroidery work done on it. These
gowns are decorated with colorful floral motifs and designs.
Both men and women find it easy and comfortable to wear these phirans as they
are very warm and loose and can accommodate hot water bags or little earthen
pots with burning coal. This arrangement helps these people to stay warm in the
extremely cold climate

41. The people of Kashmir wear the traditional dress called PHIRAN, which is
unisex and is worn by all sections of the society
The kashmiri women wear salwar kameez that is thicker to suit to the
climate and the embroidery done on them is particular to the region. This
traditional dress in Kashmir is called Phiran. The long, loose phiran
covers their physique no doubt,but does not blunt their physical appeal.
Both men & women wear phiran.

44. The most popular attire of women in Jammu and Kashmir is the phiran.
They are long, loose gowns that cover their physique but do not reduce the
appearance or the physical appeal of the women. These gowns are decorated
with colorful floral motifs and designs. Whereas a Muslim woman wears a
phiran that is knee-length, loose and embroidered in front and on the ends, a
Hindu woman's wear their phirans long, stretching up to their feet with
narrowed down sleeves.
Phirans are tied at the waist with folded material called lhungi. The Hindu
women wear a "taranga", a headdress, stitched to a suspended cap and it
narrows down at the back, towards the heels. On the other hand, Muslim
Kashmiri women wear a red headgear known as the "kasaba". The kasaba is
stitched in the form of a turban and is pinned together by brooches. A pin-scarf
suspended from the kasaba descends towards the shoulder. Elaborate
embroideries or floral patterns are a prominent feature of a Kashmiri woman's
pheran. Today phirans are worn by women of other parts of Indian as well.

46. There is an interesting chapter on embroidered shawls of Kashmir —
amli shawls — which came into being in the early 19th Century. It has been
written that the amlikar style was taken up during the Afghan rule, Persian
expert who taught the craft of embroidery to the Kashmiris. Pashm wool was
used for the embroidery and quite often zari thread used as well. Chain stitch is
widely used, also satin stitch and stem stitch. Embroidery is done on
phirans and other garments. The Map shawls were spectacular and there were
four shawls with a map of the Kashmir valley.
The woollen costumes of Kashmir employed different types of wool have been.
The choga, sherwani, achkan, jama and phiran are Kashmiri traditional
costumes and heavily embroidered sometimes with zari on special occasions.
The famed Kashmiri phiran, which is a legacy of the early centuries, has made
a fashion comeback with a contemporary idiom.

47. WOVEN SHAWLS OF KINNAUR & KULLU
Himachal Pradesh Shawls
Himachal Pradesh in India is also known for making exclusive woollen and
handloom shawls. Shawls are a specialty in Himachal Pradesh. Exquisite
woollen shawls in beautiful pattern expressing a vision and variety of shape
and feeling have been woven in the pradesh for centuries.
Fabric:
Raw Material Used:
Raw material used for making shawls, that is wool, is available locally and
worsted yarn is imported from outside. The Pashmina is the first grade wool
derived from the domesticated animals known as Pashmina goats. In summer,
the wild Himalayan goat sheds its fleece on the high mountains. From this, the
hill people spin and weave exceptionally fine and valuable shawls during winter
months. The spiti area is well known for Pashmina wool. Wool of the wild
Himalayan sheep and ibex is also used in certain areas.

49. Design & Pattern:
The exclusive range of shawls of Himachal Pradesh can be plain as well as
designed. Himachal shawls in their floral, geometrical and traditional designs are
very popular with the high elite and the sophisticated society both within and
outside the country. The designs of the shawls are mostly simple and carry
attractive colour scheme. The colour largely depend upon mixing of wool. Proper
mixture results in beautiful colours like gray, blue, mustard, red and black. Over
elaboration and superfluous decorations in shawl are skillfully avoided.
The popular draping styles of Himachal Pradesh shawls include:
Dhobroo
Pattu
Types of Himachal Pradesh Shawls:
The most popular types of Himachal Pradesh shawls are:
Kullu Shawls
Kinnauri Shawls

50. Kullu Shawls
Shawls made in Kullu in Himachal Pradesh occupy a place of pride among the
handicrafts of Kullu. For their elegant look, brilliant traditional patterns, quality
and reasonable cost, these shawls are world famous. Usually draped around and
over the chest and shoulders by women, Kullu shawls are lightweight measuring
1x2 meters. Kullu shawls worn by men are locally known as "Loi" or "Chaddar".
Fabric:
Usually made from light woolen fabric, Kullu shawls are available in diverse
designs and colors. The raw materials for making shawls are easily available in
the valley. The variety of wool that is not produced in the region is imported from
the neighboring states and countries.

51. Typical Kullu shawls have geometrical designs on both
ends. The designs on these shawls vary from simple to
most intricate. Depending on the intricacy of design,
cost also varies and a wide range of such shawls are
available with us. Usually mill spun pure merino wool
yarn is used as warp and weft. Each shawl reflects
ethnicity and the culture of Kullu.
These shawls are very warm and are available in both
bright and soft color combinations. Besides geometrical
designs, floral designs are also made, which may run
all over, on the corners or on the borders.

53. Various types of wool used for making Kullu shawls are:
Australian Merino Wool
Angora Wool
Pashmina Wool
Local Sheep Wool
Besides these, a combination of any of the above mentioned wools can also be
used for making shawls in Kullu Valley. The staple yarn used in Kullu shawl is
cotton fiber, which is used as warp. Amongst acrylic yarns, synthetic wool is
used for making patterns.

55. Design & Pattern:
Kullu shawls are very warm and are available in both bright and soft color
combinations. Besides geometrical designs, floral and animal designs are also
made, which may run all over, on the corners, or on the borders of the shawl.
Each shawl reflects ethnicity and the culture of Kullu.
The popular patterns available for Kullu shawls include:
Plain shawl made in single color without any design or pattern.
Plain shawl with border of a traditional pattern or colored stripes on four sides.
Plain with ek phool, that is, traditional pattern on its both ends.
Plain with teen phool i.e. three traditional patterns on two ends.
Shawl having design all over it.
Designed shawl with ek phool, i.e. one traditional pattern on both ends.
Designed shawl with teen phool, i.e. three traditional patterns on both ends.

56. Kinnauri Shawls
Kinnauri shawls are known by the place of their origin, Kinnaur, a place in
Himachal Pradesh in India. The designs on the Kinnauri shawls have religious
significance and the range of colors used in various patterns symbolise
mythological background. Kinnauri shawls are unique for their widely popular
intricacy and finesse in weaving.

57. Fabric:
Woolen worsted warp is used for making Kinnauri shawls. The weft is of woolen
worsted, hand-spun Indian wool, pashmina and Angora. Most of the motifs
woven in the shawl have a very special symbolic and religious significance.
The ground colours used for Kinnauri shawls comprise of white, brown, black,
and natural grey. Some of the prime colours used for patterning are red, orange,
pink, blue, green, yellow, black and white. Of these, five colours represent five
elements. Likewise, white stands for water, yellow for earth, red for fire, green
for air and blue for aether. Soft vegetable dyed colors are also used in Kinnauri
shawls these days.

61. Design & Pattern:
The intricate geometrical designs and finesse in weaving have made Kinnauri
shawls very popular across the globe. Kinnauri shawls are available in wide
variety of designs and patterns. Kinnauri pattern along both ends of the shawls,
Kinnauri teen (three) patti, Kinnauri pattern running across the four edges and
all over Kinnauri work are the most popular designs available for these shawls.
Different shades of colors are used for making different patterns of Kinnauri
shawls. Majority of the Kinnauri shawls made for commercial use are woven on
the frame loom. On the other hand, the ones made for local use are woven on
the pitloom. In this type, the weaver weaves it in two pieces, each of half width
and then joins them from the center with elaborate hand stitching.