

20
21
placed sparsely, keeping the ground empty. Petals and
leaves were outlined in a contrasting colour, a feature
that contributes to the intricate delicacy of the shawl.
The colour palette also changed, as synthetic dyes
replaced natural ones. Early shawls were bright and the
number of colours used minimal, with some woven
in not more than two or three colours. By the 18
th
century and certainly by the 19
th
, the shawls were a
burst of colours and the weaver's ingenuity was visible
in the number of bobbins, each wound with a different
colour, he could manipulate while weaving.
There are many theories about the origin of the shawl.
Commonly shared beliefs say that Syed Ali Hamadani,
who brought Islam to North India, first introduced it
in the region in the 14
th
century bringing weavers from
Iran. He was followed by Badshah Zain-ul-Abidin in
the early 15
th
century who brought master weavers
from Samarkand. This is confirmed by his historian,
Pandit Srivara, who mentions that new looms were
introduced by the master weavers of Central Asia.
Another theory is that the movement of Sufis from
Central Asia, many of whom were accomplished
weavers, brought this art to Kashmir. The eminent art
historianDr.MotiChandracontends that the technique
was prevalent during Vedic times, as references can be
traced in the
Arthashatra
, mentioning the Kashmiri
poet Kshemendra (990-1070 CE) who testified to
the existence of shawls. However, the historian Janet
Rizvi believes that it was a local craft that developed
in Kashmir itself – one that went on to be both
encouraged and patronised by the Mughal rulers, first
Akbar and then Jehangir. She maintains that references
to Hamadani and Zain-ul-Abidin are rather ambiguous
and not grounded in any historical textual references,
nor do they corroborate with any oral traditions.
Central Asia is probably the region where this
technique originated. It possibly owes its origin to the
ancient technique of the
soumak
, a speciality of the
tribal weavers of Central Asia, who wove with non-
continuous weft in the twill weave. As the colour
changed, the thread was left loose to float at the back.
Though no examples of shawls of this period have
survived, yet there is mention of woven fabrics being
sent as gifts to the Mameluks, Sharifs of Mecca, and
the rulers of Khorasan and Turkestan among others.
Shawls were largely bought or commissioned by
royalty and affluent families; some were also made
specifically for the priestly class. They were coveted
not only in India but further in Iran, Poland and
Russia, Europe and England. However, spiralling taxes
on weavers and the emergence of the Jacquard loom
in Europe and England led to the partial demise of
the shawl industry in India. The
kani
almost died out
with only one or two master weavers remaining in the
village of Kanihama in the 20
th
century. While revival
efforts have succeeded in reinventing the Kashmir
shawl, the original pieces can never be replicated.
The interest in collecting Kashmir shawls largely began
after Independence, as collectors and museums from
abroad started to make purchases, exhibitions were
held and publications became available. In India, the
Kashmir shawl has always been a collector’s item, as
much a sign of prosperity and status as that of being
a distinguished textile scholar. Jasleen Dhamija’s
collection includes some fine examples of pashmina
shawls and articles of clothing. Some of these were
acquired in Kashmir itself, others from intrepid
shawlwallahs
from the region who used to visit Delhi
in the cold winter months. One exceptional shawl in
the collection belonged to Jasleen Dhamija’s mother.
Kadir Lala weaving a
kani
shawl
at his home in Kanihama
K
ashmir has always been recognised for its highly
refined arts – papier-mâché, woodcarving
and carpet weaving – but it is the pashmina shawls
that are synonymous with the region. Bearing
finely embroidered and intricately woven designs,
their softness and warmth, rich colours, exquisite
and elegant designs have appealed to discerning
individuals for centuries.
Recognised as a luxury fibre,
pashm
commands some of
the highest prices in the world of textiles because of its
extreme softness, elegance, and lustre. The fibre comes
from the fine undercoat of goats reared by nomadic
pastoralists living on the high plateau of Changthang in
Eastern Ladakh and Western Tibet. The goat has been
called by several names: shawl goat, pashmina goat and
changra
(northern goat). It is a result of the intense cold
on the windswept plateau and the high altitude that
pashm
of a high quality is produced.
The Kashmir shawl has been used as a shoulder-
mantle, turban, waistband or
patka
(sash). The fabric
has also been used to make saris, floor coverings and
prayer mats, as well as stitched garments such as men’s
chogas
,
jamas
(robes), long skirts and capes. Kashmir’s
shawl industry involves the work of many people
from the pastoralists who herd the pashmina goat, to
traders who bring in the fibre, to dyers and designers,
weavers and needle-workers. Women are involved in
the processing of the fibres, mainly cleaning, carding
and spinning it into fine yarn.
The delicacy and charm of a Kashmir shawl reflects
the creativity of the designer and the wide palette
of colours they work with. Designs varied from early
shawls that had narrow borders and contained small
floral motifs where the ground colour was visible, to
more elaborate patterns with large motifs that swept
across the entire body of the shawl with broad
pallavs
(decorative ends). Many of the early shawls were largely
inspired by the Mughal-style single-flower motif,
SHAWLS
Kadir Lala in Kanihama, wearing the
kani
shawl for which he got the
National Award from President Dr. Sarvepalli Radhakrishnan, 1967
Ceiling of the Shah Hamdan mosque shows shawl patterns, Srinagar, Kashmir
© Monisha Ahmed