Kashmiri shawls have come to be considered the toponym for Kashmir itself, representing a timeless artistry woven into the fabric of the region’s identity. From gracing the durbars of Mughal emperors to bedecking the emporiums of Srinagar, shawls of Kashmir have captivated minds and hearts for centuries. Fashioned from the finest shahtoosh or pashmina wool and characterized by its buta design, these shawls have transcended geographical boundaries, receiving adulation and demand across the globe. Evolving beyond their functionality, Kashmiri shawls epitomize quality, luxury, and elegance, showcasing a rich tapestry of history, heritage, and artistry. However, behind their enduring legacy, lies the dedication and skill of generations of craftsmen, whose art and labor breathes life into each exquisite creation yet their stories often remain under garbs.
Brief History of Kashmiri Shawls
[The origin of Kashmiri shawls dates back to the 11th century AD, with the onset of shawl weaving in the region, when it was primarily used as protective attire against cold. By the 13th century, shawls began to transition from their functional purpose to symbols of status and style. Revitalized in the Kashmir valley in the 1400s by Zain-Ul-Abdin, the ruler of Kashmir, the industry of shawl weaving garnered patronage from Mughal rulers like Akbar and his successors.
In the Mughal and Iranian courts from the 16th century onwards, Kashmiri shawls were integral to khil’at ceremonies, where expensive fabrics were bestowed upon individuals for their exceptional service or royal favor within their political and religious practices. However, political turmoil in Kashmir under Afghan and Sikh rule during the 17th and 18th centuries disrupted the trade, leading Ranjit Singh of Punjab to encourage Kashmiri weavers to settle in Punjab while he continued the tradition of using Kashmiri shawls for ceremonial purposes.
Treasured for its warmth, light weight and characteristic buta design, the Kashmir shawl trade sparked the global cashmere industry. In the second half of the 18th century, the fame of Kashmiri Shawls spread to Europe, finding favor among elites such as Marie Antoinette. English and French individuals active in the Indian subcontinent introduced these luxurious textiles to their homelands. In the 19th century, Kashmiri shawls, previously worn only by men, became exclusive accessories for high-status women, often passed down as quintessential heirlooms that were exclusively inherited, not purchased and worn on significant occasions like marriage and coming-of-age ceremonies.
Queen Victoria of the United Kingdom and Empress Joséphine of France played pivotal roles in popularizing Kashmiri shawls. Queen Victoria mandated the Maharaja of Kashmir Gulab Singh to send three pairs of Kashmiri shawls to the British government every year, while Empress Joséphine, renowned for her collection of three to four hundred Kashmir shawls, elevated them to iconic status in Parisian fashion circles. Across Europe, Kashmiri shawls came to symbolize prestige and refinement, becoming highly sought-after accessories.]
The Artist behind the Labour
[Within the intricate fabric of Kashmiri craftsmanship lies the story of Feroze Ahmad Wani, a middle-aged shawl weaver from the Nowshera locality of Srinagar, a city recognized by UNESCO as a creative hub for Crafts and Folk Arts. From the strike of dawn, Feroze settles into the modest workshop of his house, ready to create one the most exquisite and complex weaves– Kani Shawl. Balancing his job with domestic chores, Feroze works alone, preferably so, as one of the remaining craftsmen of the dwindling craft of Kani weaving.
Kani shawl, with its mesmerizing patterns and exquisite craftsmanship, stands as a testament to the laborious effort invested by artisans like Feroze. Originating from the Kanihama area of the Kashmir Valley, these shawls are meticulously woven, using needles called ‘kani’ made from cane or wood, from Pashmina yarn on handlooms, with each thread intricately placed to form elaborate designs. As Feroze meticulously follows graph paper patterns, his hands move with precision, weaving together a tapestry of tradition and artistry.]
Inheritance of Skills & Sustenance
[Feroze, like many artisans before him, inherited his craft from generations past. Coming from a craftsmen family, his family’s livelihood revolved around creating shawls, with his mother spinning the threads of Pashmina and his father excelling at Sozni work, creating intricate designs on Pashmina shawls.
For Feroze, his craft is not merely a skill but a spiritual calling. “This is how Allah has blessed me with ‘rizq’ (providence),” he shares. Starting his journey in 1992, he received fundamental guidance from an ustad (teacher) who taught him the fundamentals but he mastered the intricate art of needlework largely through his relentless efforts. He attributes his intellect to his unwavering focus, affirming, “This craft demands mindfulness above all else.”
Grateful for his art, Feroze doesn’t shy away from acknowledging the extensive labor and meticulous attention to detail required that also necessitates proper lighting conditions. “It’s truly difficult,” he reiterates while he remains seated in one position, hunching his back for extended periods, fashioning a shawl that will grace the shoulders of patrons.
While his craftsmanship commands decent prices, such as 50,000 rupees for a single Kani shawl, Feroze believes that even such sums barely compensate for the immense effort poured into each piece. Working on a Kani shawl, a craftsman could only complete a quarter inch in a day, taking anywhere between 6 and 18 months to finish one shawl.]
Human Toil vs Technology
[Feroze is also passionate about the art of shawl design. He reflects on how, while he once crafted small designs himself, modern technology has shifted the creation of intricate designs to computers. These computers generate ‘Talim’, a coded pattern guiding weavers on the number of warp threads to be covered by a specific colored weft. Gone are the days when artisans painstakingly sketched each design and its corresponding Talim by hand. Feroze mourns the loss of traditional techniques, expressing, “It seems as though computers have become our new craftsmen.”
Despite the allure of modern technology, Feroze remains committed to preserving the authenticity of his craft. While computers may aid in designing intricate patterns, the essence of Kani weaving lies in the hands of skilled artisans like himself.]
The Dichotomy of Luxury and Livelihood
[While Kashmiri shawls are renowned globally as essentials of fashion and culture, behind their allure lies a distressing dichotomy – the perception of artisans as creative geniuses and their reality as struggling laborers. While these shawls are revered as hallmarks of luxury and social standing, the artisans who create these struggle with poverty and live in destitution.
Feroze bitterly bemoans the lack of acknowledgment afforded to artisans like himself. He yearns for recognition of the immense effort, high costs, and considerable sacrifices inherent in his craft. In the face of the government’s apathy and insufficient compensation, Feroze emphasizes, “The government has done nothing for us karigars, for us mazdoors” Amidst the rhythmic clatter of wooden looms, Feroze laments how once-golden hands of the artisans have been reduced to dust
Despite the challenges and obscurity confronting him, Feroze never contemplated switching or abandoning his profession. Weaving has become ingrained in his very being, his sole means of sustenance.]
Legacy of the Looms
[As Feroze continues to weave, his hands deftly dancing across the loom, he carries on the profound legacy of his art— not only through the exquisite garments he creates, but through the labor, dedication, and passion he weaves into every stitch and thread.
While the world’s most magnificent Kashmiri Shawls find homes in the finest museums like the Victoria and Albert Museum in London, the Musée des Arts Décoratifs in Paris, and the Department of Islamic Art at the Metropolitan Museum of Art in New York, in the end, it is within the modest confines of an artisan’s workshop, that the timeless traditions of Kashmiri shawls will continue to live on. ]
