1. Art and Diseño

Vol 5 Issue 1 Feb 2015
ISSN No : 2230-7850
ORIGINAL ARTICLE
International Multidisciplinary
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Indian Streams
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ISSN No.2230-7850
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Indian Streams Research Journal
ISSN 2230-7850
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Volume-5 | Issue-1 | Feb-2015
Available online at www.isrj.org
CHANGES IN DESIGNING TECHNIQUE
OF KASHMIRI SHAWLS
Rashmi Mishra and Suman Pant
Banasthali University , Rajasthan.
Abstract:-Kashmir shawls have been renowned since centuries. The Kashmiri shawl is among
the most exquisite textile ever woven. It has been the object of desire all over the world. The
finest of Indian shawls have always come from Kashmir. It is difficult to classify kashmiri
shawls however, Pashmina, Shatoosh, Kani and Amli are the most popular shawl range of
Kashmir. Fiber, motif/design, color and manufacturing technique of these shawls differentiates
them from shawls of other regions of India and of course, from shawls of other countries of the
world. These shawls are renowned for their intricate designs and designing technique.
Keywords: designing technique , Kashmiri shawls , Methodology .
INTRODUCTION:
This research work has been carried out with the objective to find out changes in designs & designing
technique of Kashmir shawls.
METHODOLOGY
Two main sources of information have been used in this study: secondary sources i.e. published and
unpublished literature which included books, magazine journals and net; and primary sources including
manufacturers, exporters, retailers and consumers. Survey was conducted in Kashmir and New Delhi.
To find present and past trend in Kashmiri shawls in terms of design, designing technique, fifty
weavers/manufacturers, twenty embroiderers, fifty retailers and fifty exporters were selected and interviewed.
Hundred consumers of shawl were selected to assess their opinion with regard to change in Kashmiri shawls. Eleven
museums and emporiums exhibiting Kashmiri shawls were also visited. Past/earlier trend in Kashmiri shawls in
terms of design, and designing technique were also searched in published and unpublished literature. As present
study is basically qualitative in nature, form analysis and content analysis technique were used to analyze secondary
source of information.
RESULT AND DISCUSSION
Kashmiri shawls have an extensive history. Kashmiri shawl evolved over four hundred years, through four
different periods of foreign rule, during which Kashmir was ruled successively by the Mughals, the Afghans, the
Sikhs and the Dogras. The shawls have absorbed the influence of these four main periods. Changes in Kashmiri
shawl have been observed in some features/aspects while tracking down the history of these shawls through
literature as well as field survey.
DESIGNING TECHNIQUE
Kashmiri shawls have been synonymous of artistic excellence. Initially in Kashmir single piece of shawl
Rashmi Mishra and Suman Pant ,“CHANGES IN DESIGNING TECHNIQUE OF KASHMIRI SHAWLS” Indian Streams Research
Journal | Volume 5 | Issue 1 | Feb 2015 | Online & Print
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. Changes In Designing Technique Of Kashmiri Shawls
was woven by one man on a handloom. These were known as pashmina shawl or shahtoosh shawl depending upon
the type of fiber employed in its production. Earlier simple plain shawls were produced. Over the years changes were
introduced in the way shawls are made, resulting in change in the end product.
First art of kani was popularized which introduced woven pattern in the pashmina shawl with twill tapestry
technique. These were known as kani shawl. Weaving kani shawl was complex, tedious and time consuming.
Weaving kani shawl in single loom took 12-18 months to complete. Two main changes in shawl manufacturing
technique were brought about in order to speed up and facilitate production so to meet the ever increasing and
enormous demand for Kashmiri shawls. One change was development of ‘patched’ shawl. Shawl was not woven as
one piece; instead a small section of shawl was woven by several men or boys on separate looms. A large complicated
design was broken down into fragmented parts. Merchants or master weaver supervised the weaving of shawl. Each
section was then joined with invisible seams by a skilled needle worker, called rafugar. A single shawl was
sometimes woven on eight looms. As the designs started covering larger area of shawl and also became elaborate and
complex with time, a shawl was woven on thirty two looms.
Another quicker method to increase production was to embroider the shawl. Thus came amli work, which is
intricate embroidery introduced into the shawl. Designs were simply embroidered on the shawl with the needle
rather than being tapestry woven in the traditional way. These were known as amli shawl. Thus in the art of
ornamenting shawl by needlework, motif was applied completely independently of the ground cloth itself, whereas
in the woven technique, the colour thread forming the motifs was part of the ground cloth itself by twill tapestry
weave.
Thus it can be said that earlier two main types of techniques were used to enhance aesthetic appeal of
Kashmiri shawls: a) by weaving designs on loom and b) by the needle embroidery. These were and still are costlier
methods. In earlier times (Mughal period), shawls were also decorated with precious metals, stones and gems.
Presently Kashmiri shawls with embroidery designs (Amli shawl) are produced mostly. Second most used
technique is production of shawls with woven design including Kani shawl and shawl with other woven designs.
One reason for this difference is demand of consumer. Another reason is complexity of technique. It is easy to
produce amli shawl (embroidered shawl) than kani shawl. Kani shawl is manufactured with twill tapestry technique
which is a complex technique. Plain shawls i.e. with no design are prepared less. Plain shawl is mostly used by male
and to some extent by females.
In the present era of fashion awareness, manufacturers are using other techniques of designing to provide
variety to consumer so as to boost demand and sale of shawls.
These days printing of shawl is being employed by a few as one of the techniques of surface ornamentation.
Block printing is done with the help of pigments, silver and gold powder. Advantage is that it is one of the cheapest
methods of ornamentation.
Application of lace (French lace) on shawls is one of the latest techniques of surface enrichment practiced
by manufacturers.
Fashion designers use combination of techniques to design textiles. These days some shawl manufacturers
are combining two techniques of designing for shawl. Check or stripes are created by weaving and then shawls are
embroidered in the empty space in between the stripes.
Weave
One of the unique characteristics of Kashmir shawl is its weave. In Kashmir in the traditional way of shawl
making the weavers used twill tapestry weave to make kani shawl. This technique of weaving requires a high degree
of skill and labour. The true technical name for 2x2 tapestry-twill weaving is double-interlocked weave. This refers
to the interlocking or joining of every weft thread each time. It does not proceed from side-to-side in linear fashion to
create the pattern but rather builds color areas by moving from the bottom of the weaving to the top.
Required lengths of each weft yarn are first wound around a wooden eyeless spool, called kani or tojlis in
Kashmir or bobbins as they are known by us. The wefts which form the pattern do not run right across fabric in a
continuous manner. The weaving work is done by inserting the prepared tojlis over and then under pairs of adjacent
warps threads, where each color is needed in the design. It also forms the structure of material. This is done from the
backside of the shawl. One line of weft, depending upon the complexity of design, can require hundreds of
insertions.
The fabric count can vary from 30-36 x 30-48/cm to 42 x 87. According to---- ? the reason for using 2x2
twill weave is less strain on each of delicate warp if work is done on pairs. Moreover, it is easier to count the yarns for
each insertion in pairs than in plain weave.
After all processes like preparation of the yarn for weaving is complete, the designer called naqqash
finalizes a design pattern for shawl weaving. Mostly they use traditional designs but sometime this is done by
imagination. Then tarah-guru or color caller decides color combination and amount of yarn required for each shade.
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. Changes In Designing Technique Of Kashmiri Shawls
When the designer finished his work of designing, he passes the design to Taleem writer who writes the moves of
shaft on a graph paper (point paper). The talim indicates the colour and the number of warp threads to be covered thus
helping the weaver to make the shawl according to the design and use the tojis as required.
Recently computer programs have been developed to translate design into talim.
After the warp yarns have been fixed to loom the ustad or master weaver directs the weavers by giving
instructions from talim. This tapestry –twill technique is very time taking and skillful job, as it took 12 to 16 months
to complete a single piece of kani shawl depending upon design and size of shawl.
Plain or twill weave was used to manufacture amli shawl which was later on embroidered. Slim boat shape
shuttle was used in place of kani to produce plain shawls for embroidery.
Today most common weave of shawl is twill weave. 2x2 twill tapestry is still used for weaving kani shawls.
Variations of twill weave such as simple twill, pointed twill, unbalanced twill, diamond twill are also used to produce
designs on shawl. In addition, simple twill weave is used by weavers to weave shawl which are to be embroidered or
left plain. Some use plain weave for weaving shawls which are to be embroidered or left plain.
Dyes
Initially wool used for Kashmiri shawls was not dyed. Fiber in its natural color such as white, off white,
brown, black was used to produce shawl. Shatoosh was seldom dyed.
Later on only natural dyes were used for dyeing. Akbar experimented with dyes to produce different
shades. Dyers called rangrej were expert in the art of dyeing. The craft passed down from father to son. During the
first half of nineteenth century, red and pink colors were obtained from lac and cochineal (kermes), insect sources.
Duller shades of red were derived from logwood. Lac was mixed with indigo in different ratios to get dark red,
crimson to violet colours. Blue was obtained from indigo, black from mixture of iron fillings and wild pomegranate
skins; light brown from wild pomegranate skins; orange and yellow from safflower and saffron; and drab from
walnut skin. Thus six –seven types of natural dye sources were used and different shades were obtained by varying
the concentration of dye and also by mixing two or more dyes together. It is claimed that sixty four tints and shades
were obtained from six to seven natural dyes.
In the late nineteenth century, aniline a chemical dye was used to dye shawl but colors lacked softness of
natural dye. Literature reveals that natural dyes were continued to be used in 20th century.
Survey has revealed that these days, dyeing is still carried out by rangrej. Most of the dyers use natural dyes
for dyeing shawls. These are obtained from different sources. The dyers are using indigo for blue color, annota seeds
for getting red color, heena and myrobolan for getting yellow and brown shades. They also use mordants like
aluminium sulphate and ferrous sulphate for getting bright yellow and green shades respectively.
Many dyers also use synthetic dyes such as acid dyes, metal complex dye, and reactive dye for shawl
dyeing. The dyeing behavior of Pashmina is similar to sheep wool; however dye uptake of pashmina is faster than
sheep wool due to presence of hydrophilic cuticle on its surface. The acid dyes are used for dyeing Pashmina fabrics.
Generally, Dyeing with acid dyes is carried out at ph 2-3 with the addition of sulfuric acid. The dyeing is carried out
in weak acidic condition by adding acetic acid or sodium acetate. The other important dye used for dyeing shawl is
metal complex dyes, which has excellent fastness properties. The reactive dye is used in limited amount. Various
types of leveling agents are used by the local dyers at Srinagar in order to facilitate quick and even dyeing.
The dyeing of shawl is done individually by hand dyeing technique. Exhaust method is followed to dye
shawl in a pot type vessel on gas stove.
Dyeing technique
Textile material can be dyed at fiber stage, yarn stage or fabric stage. Earlier dyeing was done at yarn stage.
Later on they started fabric dyeing. An attempt has been made to find out at what stage shawls are dyed. Data
presented in table 10 shows that even today dyeing is very rarely done at fiber stage. The one who does dyeing of
fiber say that dyeing at fiber stage is least harmful to fiber.
Either yarn dyeing or fabric dyeing is mostly carried out by dyers as it is easier to dye yarn and fabric than
fiber. Dyers carry out dyeing as per the order received from weavers like mostly fabric dyeing is done, sometimes
yarn dyeing is done. This all depends on some factors like firstly which type of shawl is being prepared, secondly
according to the requirement of manufacturer. If weaver is weaving plain Pashmina shawl then yarn dyeing is done.
On the other hand if the shawl is to be embroidered (amli shawl) then the fabric will be dyed. In the case of kani shawl
yarn dyeing is always carried out as in the kani shawl woven designs are produced. Master weaver calculates the
amount of yarn necessary for each color in the design and gets the weft and warp yarns dyed.
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. Changes In Designing Technique Of Kashmiri Shawls
Colour
Color is important feature of shawls. It has been claimed that the first shawls employed only red, saffron
yellow and indigo blue. The Mughal hues appear to have remained in vogue until the first half of the eighteenth
century. At this time strong indigo blue and bold reds from cochineal were used in the shawls. Yellow was used
sparingly. At the beginning of nineteenth century, there was influx of Afghans in Kashmir and the opening of new
foreign market. A definite change is noticeable in colors as Afghans required particular colours. Number of colors in
earliest shawls varied from three to eighteen. But number of colors was reduced later on to cut the cost for handling
more colors requires more labour and time in dyeing and weaving. As more tojjis were required, this made weaving
slow process.
But perhaps the word change should not be used, may be it should be upgrade. In the earlier time, they used
some particular colures in dark shades like red, maroon, green, blue, yellow and some manufacturers did not use
dyes and the shawls were in their original colures like white, off white, gray, brown etc. But now days kashmiri
shawls are the fashion icon so it’s certain that it is perfect in every quality like design, pattern, embroidery, warmth
and of course the colour. It is a fact that the demand only increases when it fulfills the need of consumers. According
to this theory, manufacturers of shawl decided to upgrade their colour chart following fashion trend. Now they use
colors like vine, purple, olive, sky blue, pink, and a wide range of colors is used for traditional shawls.
Motifs
It is said that motifs in Kashmiri shawls were introduced in Mughal period. Mughal artists realistically
represented nature in all their art forms.
Kashmir shawl is characterized by the boteh motif. It is the most used motif of Kashmiri shawl. The
development of the Kashmir shawl is closely related to the development of the buta motif; the motif’s different forms
express different periods in shawl development.
The earliest design on17th and 18th century Kashmir shawls was a single flowering plant complete with
roots. It is said that it was derived from the European botanical drawings of 16th and 17th century which reached the
Mughal court in 17th century. On the other hand, some historians claim that the motif originated in Kashmir. Flower
was rendered very naturalistically in shawl. The flowers were normally of same species either crocus, rose and
marigold and the slandering flowering plants were widely spaced on a plain background in shawls. Flowers were
enclosed in hashia which served as frame around them. They were at times woven in ways suggesting various states
of growth. It slowly evolved into a slightly abstract representation of flowers (semi floral).
During Afghan period, the boteh became more stylized. Its flowers began to be formed into bouquets of
almost nondescript foliage. Flowers moved away from naturalism towards more abstract form. One of the most
important features in the transition from Mughal to Afghan style is replacement of a single species of plant by a
mixture of all different kinds of flowers. Another related change is the appearance of a vase and a dish. One of the
transitional patterns of Afghan period is Qajar boteh. Raceme began to move slowly upward to the top to sprout
forming an apex, the early beginning of pine cone. Radial flower technique also developed in which small flower
buds appear attached like spokes on a wheel.
The shape of the motif changed over the decades, from a small squat cone to a very elongated curve. By the
1830s and 1840s the boteh motif had become trademark ornament of Kashmir shawls.
This cone shaped motif called by various names such as kalka, mango, kairy, badami buta or buta or paisley
is still used in infinite forms such as naturalistic, stylized and geometrical.
Chinar leaves, cypress tree and cones, the lotus were other most abundantly used motifs. In addition, lili,
tulip, saffron, bunches of grapes, apple, almond, cherries, plums appeared in kashida.
These days majority of manufacturers and embroiderers use traditional motifs which include paisley,
chinar patti, char badam. Paisley is well known traditional motif of Kashmiri shawls. Although paisley is stylized
motif too but it has been used for generations/centuries and is the identity of Kashmiri shawl that’s why it is called
traditional motif.
In natural motifs they use other flowers and leaves of various types excluding traditional motifs.
Geometrical motifs are hardly used whereas abstract motif is not used for shawls. Some weavers try to use other
stylized motifs too but these are not used as much as the traditional or natural motifs are used, because the small scale
weavers don’t want to do any experiment with tradition and the art of shawl making.
Tracing of motifs
In case of embroidered shawls, earlier the kasida patterns were freely drawn by the chapwal mostly from
memory. Later on pouncing method was used. In this method firstly motif is drawn on tracing paper. Outline of motif
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. Changes In Designing Technique Of Kashmiri Shawls
is perforated with the help of pins. Perforated paper is attached to shawl. Coloured powder or charcoal is rubbed over
it. The design is then outlined with pen locally called kalam.
Now a day’s in addition to free hand and tracing methods, wooden blocks (made of walnut) are used by
some to trace motifs on shawl. Design is engraved on wooden blocks and then printed on the shawl.
Design placement
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
flowering and meandering vines.
At the beginning of nineteenth century, the designs of Kashmir shawls were influenced by designs of
shawls being manufactured in jacquard loom in England and France. Moreover, at the beginning of 19th century, the
majority of shawls had a plain colored centre often cream with richly patterned ends. As the nineteenth century
progressed, the patterns on the shawl’s ornamented ends became increasingly complex, and also larger, often
invading the central field entirely, leaving no empty space at all.
Initially Kashmir shawls were brought to Europe in 1760s so that designs could be copied, design books
were later on (in 19th century) brought from France to Kashmir by Parisian agents so that the Kashmir weavers could
modify their designs according to the demand of international market. A two way exchange of design influence
developed. Thus with the progress of the century, the adaptation in designs became complex.
Motifs can be placed at different parts of shawl. Recent trends with regard to placement of motifs reveals
that all over is most common placement of motifs followed by only at border placement. Next common placement of
motifs is border with corner. Only at two sides placement is next preferred placement of motifs followed by all over
scattered.
Embroidery
Hand embroidered shawls were developed in 19th century. But some scholars claim that embroidered
shawls were invented in mid 18th century by Ali Baba. At first, embroidery was done to imitate twill tapestry as it
was used to give finishing touches to kani shawl to correct weaving fault. Later on embroidery was used to create
design on plain shawl. Embroidered shawl could be produced in one fourth of the time it took to manufacture kani
shawl with same design which reduced cost of production. This resulted in popularity of embroidered shawl. Earlier
embroidery was done by men only with the skill passing down from father to son. Training of the boys used to start at
the age of seven to eight years and he gained expertise by sixteen years of age. Today women also are engaged in
embroidery work.
To produce a design on shawl, manufacturers appoint a designer called ‘naqqash’. After approval of
design, it goes to a “chapawal”, who stamps the design on the shawl. Then shawl comes to an embroiderer, who does
embroidery on it. How much time he takes to finish it, depends on the complexity of the design.
Embroidery has made Kashmiri shawls very popular. Embroidery work is very intricate, fine and looks
gorgeous.The world has been fascinated by the sheer elegance of Kashida or Kashmiri embroidery. It is a very time
consuming process but the results are magical. Hand embroidery was traditionally done on Kashmiri shawls with
unique and intricate stitches using needles.
Needle work or embroidery is known as Sozni (suzni) in Kashmir. The finest sozni had three or four main
stitches. One is straight line which can vary in length. It is always reinforced with a smaller stitch over it (Roumanian
stitch). The second is simple diamond shape outline for petals and leaves (fly stitch). The third is filling up stitch
(darning stitch) for larger areas. Stem stitch was also used to outline the design.
Sozni was often done so skillfully that the motifs appear on both sides of the shawl, each side having a
different color scheme. Such shawls were called do-ranga (double colored). This is done either on broad panels on
either side along the breath of shawls, or covering the entire surface of the shawl.
Embroidery was done so finely and meticulously that embroidered shawls had no 'wrong' side. Each stitch
was made to lie as flat as possible by nipping up loops of warp threads, but rarely permitted to go beyond the whole
fabric, which made the embroidery look like as if it was made on the loom itself. If thread goes to back side it is cut
with the scissor so that there are no floats at back.
It has been found that even today machine embroidery is not done on Kashmir shawls. Kashmiri shawls
are embroidered by hand only. One reason may be delicate pashmina fibers which can’t bear vibration of machines.
Earlier, only fine woolen yarn was used for embroidery. Fine lustrous silk thread was later on used to
embroider Kashmiri shawls. The fineness of the workmanship and the amount of embroidery determines the value
of the shawl.
Presently most of them use silk thread due to its luster and smoothness followed by wool thread. These days
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. Changes In Designing Technique Of Kashmiri Shawls
manmade threads such as rayon, acrylic, nylon, which is less expensive than silk, are also used to embroider shawl.
Cotton thread is not used for embroidery purpose on shawls.
Recent trend in use of embroidery stitches in shawls of Kashmir reveals that a variety of stitches such as
darning, double darning, running, buttonhole, stem, satin and herringbone, knot and couching stitches are used.
Satin and darning are most commonly used stitches for embroidery in shawls. In addition, stem and fly stitches are
used frequently. Herringbone, knot and fly stitches are also used.
Earlier very fine yarn was used for embroidery like yarn of 2/30s and 2/40s count was used. Moreover, only
single strand of yarn was used earlier for embroidery. Same trend is followed these days i.e. single thread is used for
executing the embroidery work.
CONCLUSION
Thus it can be concluded that changes have been observed in designs and designing techniques of Kashmiri
shawls.
Designing techniques have been expanded to fulfill consumer demand for variety in this era of fashion
consciousness so as to boost demand and sale of shawls. These days printing of shawl is being employed by a few as
one of the techniques of surface ornamentation. Application of lace (French lace) on shawls is one of the latest
techniques of surface enrichment practiced by manufacturers. In addition, some shawl manufacturers are combining
two techniques of designing for shawl such as woven design in combination with embroidered design.
Use of synthetic dyes such as acid dyes, metal complex dye, and reactive dye in addition to natural dyes is
being done for dyeing of shawl. Manufacturers of shawl have upgraded their colour chart following fashion trend.
Colour has changed drastically from the past. Now colors like vine, purple, olive, sky blue, pink, and a wide range of
other colors is used for traditional shawls.
Now a day’s in addition to free hand and tracing methods, wooden blocks (made of walnut) are used by
some to trace motifs on shawl. According to manufacturers, embroidery is still done by hand with single thread.
Presently most of them use silk thread followed by wool thread. Besides manmade threads such as rayon, acrylic,
nylon, which are less expensive than silk, are also used to embroider shawl. Satin and darning are most commonly
used stitches for embroidery in shawls. In addition, stem and fly stitches are used frequently. Herringbone, knot and
fly stitches are also used.
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10.Jane and Nylander, C., (1990). Fabrics. New Jersey:John Wiley & Sons Inc.
11.Jaitly, J, (1990).The Craft Tradition of India. New Delhi: Luster Press Pvt.Ltd.
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