Objective:

―To understand the traditional embroidery of Jammu and Kashmir.‖

Structure:
4.1 History of the Kashmir Shawl
4.2 Technique Used
4.3 Types of Woven Shawls
4.4 Evolution of Embroidered Shawls
4.5 Floor Coverings of Kashmir

Jammu and Kashmir is the Northern most state in India. The locality is
embedded with enchanting and beautiful flora and fauna, lakes, hills and
streams all around. This has inspired many writers, poets, artists and
craftsmen.

A legend reveals that a semitic tribe ―kash ‖ including Herbews, Arabic Jews,
inhabited Kashmir much before 541 AD. This might be one of the reason for
the title Kashmir.
4.1 History of the Kashmir Shawl
The shawl industry in Kashmir was introduced by Zair–Ul–Abidin, the ruler from
1420–1470 A.D. It appears that he was taken into captivity at Samarkand
(Persia). He got interested in the various crafts going on there. When he
returned to India, he sent people in search of talented craftsmen. Thus the
shawl weavers from Persia were brought to India.

Reference to the kashmir shawl is made in Ain–I–Akbari by Abdul Fazal where

he says that the Emperor Akbar was a keen admirer of the shawl. It is Akbar
who is responsible for introducing a new type of shawl called the ‗Doushala‘
meaning twin shawl.

The demand for shawls increased during the Mughal times. By the 18th century
they were being exported to Europe, where it became a fashionable wrap by
the elite.

By the end of 19th century the shawl industry declined due to many reasons.
Cheap versions of exquisite woven shawls of kashmir were being now made on
the Jacquard loom in Europe
AREAS OF PRODUCTION
 Technique Used

Traditional woven shawls of Kashmir are called ―Kanihama‖ or

―kanihar or ―Kan or ―Jamavar shawls.

These were made by a labourers and a slow process of weaving

2/2 twill tapestry weave.

The raw material used was the fleece of a wild goat called
caprahircus. This fleece locally called ―pashm; another raw
material called ‗toosh‘ was used, which is the hair of dead chiru
antelopoe. This gave rise to Pashmina and Shatoosh shawls
respectively, the latter being very rare and more expensive shawl.
[Note : The chiru antelope is on the list of endangered species
and is thus illegal to process toosh.]
 Types of Woven Shawls

1. Pashmina Shawls : Majority of the Kashmir shawls are made

from the fleece of caprahircus

2. Do–shala : Two identical shawls stitched together with their

wrong sides facing each other, so that when dropped over the
shoulder, the wrong side was not visible.

3. Do–rookha : Double sided work in which there is no wrong or

right side.

4. Kasba Shawl: Square in shape and produced on amount of

European demand.

5. JamavarShawls : Woven wholly of wool or some cotton mixed,

but the floral designs and brocaded parts are generally in the silk
or pashm wool.
 Evolution of Embroidered Shawls:

An Armenian named Khawafa Yusuf came to Kashmir from

Constantinople in 1803 to purchase shawls. He found that the
price of the shawl was exhorbitant and that there was heavy
taxation on the looms. He got the idea of producing a shawl with
the help of a ‗Rafoogar‘.

The Rafoogars used to actually stitch up 2 shawls of smaller

width with tiny stitches. These tiny stitches were so fine that it was
difficult to make out the joint. Thus with the help of a rafoogar, the
jamavar pattern was copied in embroidery on a plain woven
shawl. The cost of the shawl was much less as they were
exempted from the taxes imposed upon the loom shawls. These
shawls came to be known as Amli Shawls.
To begin with, the purpose of embroidery was to imitate the
designs of woven shawls; but later the embroiderers created their
own style.

Process:
The plain shawl is placed on a smooth flat surface and rubbed
with a piece of polished agate [Type of stone] till it becomes
perfectly even.

The design is drawn on a paper and outlines are pierced with a

needle.

Charcoal powder is rubbed on the paper. It perforates through the

holes to transfer the design on to the fabric.

The design is them outlines with ‗kalam‘ the pen.

 Fabric Used:
The base fabric used for embroidery is pashmina either in its
natural colours of beige to off–white or dyed in dark colors of
maroon, navy blue, dark green, peach and orange. Silk–pashmina
or pashmina–wool blends are also used.
Threads Used:
Fine, single strands of silk and cotton threads are used for fine
embroidery. Wool is also used for embroidering. Threads of white,
green, purple, blue, yellow, black, crimson, scarlet colors are
used. Inexpensive artificial silk (rayon) thread is also used.
Stitches Used:
Stitches commonly used in the Kashmir embroidery are chain
stitch, darning stitch, stem stitch and sometimes a knot stitch
called doori.
Kasida has 3 main styles of needle work.
a) Sozni and Rezkari: Done on shawls and long dresses. Very
intricate work with its main stitches as stem, Rumanian and
satin stitches.

b) Ari Work: This is also called Zalakdozi which is done with the
help of an ‗ari‘ or rook. Floral designs are worked in concentric
rings in chain stitch.

c) Kashmiri Couching: This is done in both metallic and non–

metallic threads
 Motifs used:
The designs in the embroideries are evenly balanced.

Animal and human figures are not seen in the Kashmiri

embroidery, because of the Muslim influence.

Motifs used are parrot, wood–pecker, canary, king–fisher, iris,

lotus, lily, saffron, plums, cherries, almonds and apple.

The chinar or the maple leaf is considered to be an important

design.

Another important motif is the tear drop or the cone motif.

This motif has been found as early as the Babylonian civilization

and is believed to have represented the growing shoot of the all
nourishing date palm.
It is the symbol of the tree of life, one of the oldest
and most powerful of all motifs; and is symbolic of
growth.

It was a popular element of the Persian design

designs and is thus seen in the Kashmiri shawls.

It is also called the almond mango or the paisley

motif.

The embroidered shawls are known by different

names, depending on the area where the shawl is
embroidered.
SOZNI AND REZKARI MOTIFS
MOTIFS OF SOZNI AND REZKARI
KASHMIRI SHAWLS
KASHMIRI DRESS MATERIALS
a) Kashida – Border design which runs all along the length of the
shawl on both sides.

b) Phala – Embroidery is done both ends of the article, popularly

known as pallu.

c) Tangir or Zanjir – is the border done with chain stitch.

d) Kunjbuta – is the cluster of flowers in a corner.

e) Buta is the generic name for a floral design.

When buttas are in two rows its called dokad; in five rows its
called sehkad; in more than five rows its called Tukadar.
MatanBagh consists of floral sprays.
 Floor Coverings of Kashmir:
Numbdha :

It is a piece of pressed felt made either out of woollen or a wool–

cotton blend.

Wool fibers, usually of a poor quality are washed and pressed for
felting.

These are then dried, cut to desired shape and embroidered.

Shape of the Numbdha can be square, oval, round, or rectangular.

Chain stitch is done in bright colours with the woolen yarn. The
base of the numbdha makes a warm, colourful and inexpensive
floor covering.

.
 Gabba:
It is an inexpensive floor covering prepared from torn woolen
shawls and blankets.

This is a household craft and done the members of the family.

Old pieces of blankets are stitched up, and backing is done

with waste cotton cloth; these are then washed and dyed.

Gabbas are of two types

(a) Embroidered, where bold and vivid embroidery is done

mostly in woolen yarn using chain stitch

(b) Appliquéd, where pieces of dyed blankets, cut out in

designs are appliqued using the button hole stitch. This is
sometimes interspersed with embroidery
.

Tapestry Work: is another kind of Kashmiri embroidery where Dasuta the

canvas cloth is embroidered using a blunt tapestry needle.
The material is stretched on a wooden frame with the tracing kept along its
side. The woolen thread is used to embroider the design with a whip stitch by
counting the threads. It is a labourious work and takes nearly a month and a
half to complete a carpet of 3‖ x 5‖. Tapestry work is popularly done in Srinagar
and Anantnag.

Other articles produced are bed covers, teacosy covers, cushions covers,
sarees, fabric lengths and stoles.
.
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Kasida is a cottage industry. This commercial art
is done by the men folk (reason why no domestic
articles are seen as motifs, as in phulkari) and is
passed on from father to the son.

Boys in the family about seven to eight years

learn simple stitches and master the art by
providing the cloth and design.

The craftsmen have a choice over threads and

colour combinations.

Kashmir embroidery not only provides

employment and livelihood to thousands of
people but it depicts the rich century old
tradition and heritage of India