A new book examines the highly refined craft of weaving carpets and floor coverings in Kashmir

In Kashmir, while wagoo mat weaving traces its antiquity to the Indus Valley Civilization, animal pelts and fabrics made of wool have been amongst items of export for centuries and traded along the route during the age of the Nilamata Purana. The weaving of shawls, chaddors, pattus and kanis were originally the result of a sustainable system that existed in the valley due to the harsh climatic conditions of the region until the exploitation of the “craft” was initiated for commercial gains by successive governments and merchants.

The param narams, as the pashmina shawls were called, were the fabric of imperial preference, weaving of which was much encouraged by the nobility and preferred by craftsmen over the weaving of carpets, notwithstanding the global name and fame the Kashmiri carpets earned since the 15th century. The craft is believed to have been introduced first by Badshah Zain-ulAbidin in the 15th century, who is said to have sent emissaries to Persia and Central Asia inviting artisans to settle in Kashmir. Subsequently, the craft was introduced again by Shah Jahangir in the 17th century, with the support of Ahmed Beg Khan and the merchant Akhun Rehnuma. In the 19th century, however, with the advent of the jacquard looms in Europe, the Kashmiri shawl faced competition.

The jacquard looms began replicating the popular shawl patterns, leading to a subsequent decline in the demand for handcrafted shawls. Consequently, the shawl weavers shifted towards carpet weaving, transferring their weaving skills and techniques to the production of carpets. After the decline of the Mughal rule, patronisation of carpets from the Sikh and Dogra rulers created a regular demand for carpets resulting in the beginning of production on a commercial scale. Kashmiri carpets, however, were noticed and appreciated in the West after a Kashmiri carpet, produced for Maharaja Gulab Singh, was exhibited at the Great London Exhibition of 1851.

Thereafter, the visit of Mr Chapman, the first European to Kashmir in 1876, led to the relaunching of the industry. Economic growth was now dependent on new patrons from the West. Carpet manufacturing was subsequently well established under Mitchell & Company and Mr CM Hadow.

From 1851 to the early 1900s, Kashmiri carpets continued to be appreciated for their quality and craftsmanship, winning great distinction and several prizes at exhibitions in Chicago (1893), Paris (1900) and London (1902, 1903 and 1906). Thus, while the Persian and Turkish pile rugs were an outcome of both settled and nomadic weaving traditions, the Kashmiri pile rugs were a product of imperial karkhanas and, subsequently, British factories.

The flourishing carpet industry in the mid-1870s, therefore, not only accommodated the out-of-work kani shawl weavers but also adopted a number of the kani designs and the taleem system in production. The mastery and ability of Kashmiri artisans to process and produce pashmina yarn in varying qualities from the wool enabled the Kashmiri carpet weavers and designers to make distinct and lasting contributions to carpet weaving through the most exquisite pashmina pieces that represent the top production of the court workshops. Their skilful use of pashmina on silk foundations, for instance, with large knot counts (approaching and exceeding 2,000 per square inch in some cases), led to the use of the material as a pile fibre. Additionally, by directly mixing or combining dyed yarns, Kashmiri carpet weavers were able to expand the range of colours on woven floor coverings and develop subtle aesthetic variations.

The emergence of a new genre of botanical style designs inspired by “Western herbals” and developed using flowers from the Kashmir landscape was another contribution that can be ascribed to Kashmir. Exquisite workmanship of the Kashmiri carpets is also evident in collections of the Maharaja Sawai Man Singh II Museum, City Palace, Jaipur. Some pieces (ex-collections and existing) were displayed at the Metropolitan Museum of Art exhibition in 1997, “Flowers Underfoot: Indian Carpets of the Mughal Era”, further reiterating the skill and artistry of Indian weavers. Kashmiri carpets, thus, initially dependent on Persian models, began to espouse a distinct aesthetic in their beautiful rugs which were perhaps most evident in their use of the finest wool, natural dyes and soft and silky quality.

The later usage of naturally depicted floral patterns in the weaves of Iranian carpet is a trait which is indigenous to Indian ornamentation in all types of media, including floor coverings and textiles being exported from India at the time. The tradition of making hand-knotted pile carpets thus dates back over 600 years in Kashmir and is considered “the most coveted of textile weaves”.

Carpets have been an enigma since antiquity, as the time of origin and region is debatable. While they may have primarily been used for warmth, protection and décor by the weavers themselves, the complex weaving technique and time required for producing a carpet which has the ability to both sensuously appeal and dress up any place and occasion has led it to become a symbol of wealth, prestige and honour. Carpets thus enjoy pride of place not only in dwellings, company boardrooms and paintings, but also abound in tales and legends that espouse their magical qualities.

In nearly all the legends and folklore, the magic carpet is available to the most extraordinary people and is used to portray the power of the carpet’s master, as is evident in the legend of King Solomon’s flying carpet that transported him and his army over long distances or the magical flying carpet in Walt Disney’s Aladdin (1992) that enabled Jasmine and Aladdin’s travel adventures. Since the beginning of the 20th century, carpets have often been “laid” or “rolled out” at important public and private events for state heads and dignitaries to denote status, style and opulence, evoking an atmosphere of glitz and glamour. The use of phrases such as “red carpet event” or “red carpet treatment” has further become synonymous with and emphasises the importance of the event or individual.

Excerpted with permission from Floor Coverings from Kashmir: Kaleen Carpets, Namdah, Gabba, Ari Rugs and Wagoo Mats, Promil Pande, Niyogi Books.