‘Kashida’ is derived from Persian for free-flowing cursive writing. Kashidakari or Kashmiri embroidery is used for phirans (woollen kurtas) and namdahs (woollen rugs) as well as stoles.
In the words of famous Art enthusiast and Indian social reformer Kamaladevi Chattopadhyay - “It is essentially a child of landscape and bountiful nature and is, therefore, as varied in its richness, as superb in its beauty”. The floral motifs with their inexhaustible display of colours, variegated birds, luscious fruits, majestic mountains, shimmering lakes – all find a place in Kashmir embroidery”
An interesting and peculiar fact about Kashmiri craftsmen is that – almost all craftsmen embroider using their right hand. There are very few or no left-handed craftsmen. The craftsmen use a thimble called Nyatth, on the fourth finger of the right hand. This is used to push the needle into thick cloth. When the thimble is not used, the finger is dipped in mustard oil to enable the smooth movement of the stem.
‘Zangvaitth’ is the posture in which the embroiderers sit while working. They sit with their knees up, with their back against a wall. A thick hard cushion or a wooden plank at an angle, act as backrests. Men are said to be mostly working on Kashmiri embroidery while women prepare the yarn.
Sozni work on Pashmina – by men
Less fine sozni – by women
Rezkar, Petit-point – by both men and women
Papier mache embroidery – by men mainly
Watchikan – by women
The Kashmiri embroidery is known to draw inspiration from the gentle colours of its landscape. The elaborate designs from the days of the Kani Shawls, that flourished under Mughal empire, are still seen. A single sided embroidery pattern is called Aksi, meaning reflection in a mirror. The thread is split into half by a fine needle. Then only that portion of weft thread is picked up which is visible on one side. When the same technique is done on both sides, it is called Dorukha. This style was introduced during the Dogra rule.
Types of embroidery
- Sozni or Sozankar – Fine and delicate embroidery, mostly done on Pashmina shawls.
- Chikandozi – Medium fine needlework
- Rezkar – Embroidery in multi-coloured threads and broad stitches
- Watchikan – Raised flower and floral designs in golden thread on Raffal shawls
- Aari or Zalakdozi – Introduced by Persians, chain stitch embroidery is done with a hook called ‘Aari’. Crewel embroidery done with thin wool thread on fabric.
- Jamewar Patterns – the pattern, which covers the entire shawl.
- Jalidar designs – Arabesques or net-like designs.
- Khatraash – Lines, either diagonal or vertical
- Dordar Khurd – Broad border of embroidery on 2 ends of the shawl, with a minimum width of 3 inches.
- Bootidar – shawls with small motifs or bootees
- Chaarbadam – four paisley forms
Sozni: Sozni, like many other arts of Kashmir was brought in to Kashmir by the revered saint and scholar Mir Syed Ali Hamdani, popularly known in Kashmir as Shah Hamdan. Among the 700 Persian craftsmen that came with him to Kashmir, were a number of Sozinkaars (needle workers). When Shah Hamdan came to Ladakh and discovered Pashmina, he introduced shawl making in Kashmir and taught the locals how to embellish the craft using Sozni Work. Thus began the precious art of 'Sozni Kaem', also known as 'Setchzini Kaem', in local lingo.
Sozni is done by hand, with a small needle that at the hands of the artisan works magic on a Shawl or Sari. Sozni is also done on other apparel in the fabrics of cotton, silk and wool. Though the embroidery is extremely fine on the Pashmina Shawls as compared to the silk, cotton or woollen fabric, the charm it inspires is nonetheless the same.
Motifs: Sozni kaam is popular in many traditional motifs like badum (almond) that is commonly known as paisley, iris, tulip, lotus and saffron flower. Bird motifs as in parrot, canary, woodpecker, butterfly and kingfisher are embroidered in beautiful colours. Cherries and grapes, the nature inspired daffodils and marigolds, the beautiful green grass all find a place in the Sozni craft. And last but not the least, the Chinar leaf in abstract colour art is among the most sort after motif after the classic paisleys.
After a piece is chosen for Sozni embroidery, it undergoes a number of processes to come up as a masterpiece. A particular design is chosen, as per the requirements and taken to a Naqash (block printer). The Naqash block prints the design which is then forwarded to the Sozinkaar to start the work on.
Depending upon the nature of embroidery and type of work, Sozni embroidery are of the following types
- Jamawar: An intricately worked on Pashmina; the embroidery spreads across the entirety of the material with almost nothing of the base showing.
- Jaaldar: This is a loosely embroidered sozni pattern which again spreads out on the entire material just in a much looser and spread-out manner than the Jamawar.
- Bootidar: This beautiful type of Sozni Pashmina has small floral, paisley or bird motifs spread across the length and breadth of the material and may or may not have embroidered corner motifs.
- Palldar: In Palldar Sozni, the embroidery is on the two border lengths only.
- Dorredar: This type is the one that has embroidery on all sides of the border.
Aari: Even though its origin is unknown, it can be traced back to as early as the medieval period. This kind of embroidery is locally known as Zalakdozi. It is a very old technique but also very popular. The crewel embroidery makes use of a pointed crochet or an ‘aari’ as the needle. This form of embroidery can be done on cotton, wool, silk, velvet as well as other fabrics. This embroidery can be commonly seen on curtains, drapes and other upholstery, bedding, dress materials etc. Woollen or art silk thread is used for this particular embroidery. Mostly, the chain stitch is used for the crewel embroidery.
Popular designs for this embroidery include flowers, blossoms, leaves, creepers etc. It has two types:
1-ply embroidery: It makes use of 1-ply woollen thread. It is cheaper but less durable.
2-ply embroidery: It makes use of 2-ply woollen thread. This is more expensive than 1-ply but is more durable.
The 2-ply woollen thread is more commonly used.
First, the design is drawn on a perforated sheet by an expert tracer. Then, this sheet is laid on the fabric and either chalk or charcoal powder is applied to it to trace the design. After that, in order to make the tracing more visible, some oil is added to it. After the design gets traced onto the fabric, the outlines of the design are drawn with the use of a wooden pen.
The skilled embroiderer, also known as zalakdoz in Kashmir then proceeds to embroider the fabric. The time taken to finish the product depends upon the fabric and the size of embroidery to be done. It usually takes a few days. This is how the crewel or Aari Kashmiri embroidery is done.
Tilla: Embroidery with gold / silver threads. Traditionally used for adorning pherans, it can now be commonly seen on shawls and sarees. This classic type of embroidery is a true epitome of grace and class. Initially, real gold and silver were used for the embroidery. Only the rich could afford this luxury back in the day; making it super popular among the royals. However, now, just gold and silver-coloured threads are used.
Amli: It is the latest from among the embroideries of Kashmir. Seen mainly on Kani and Jamevar shawls, this embroidery has made a special place in the market with its vibrant look. The artist works on the irreversible patterns on the front side of the cloth. The designs of Amli embroidery include far more variety than the other types. It expands its expertise to include motif designs depicting scenes, animals, human figures, flowers, etc. This embroidery is relatively new, mostly seen on the kani and jamevar shawls. First, the design is drawn on a paper. Before the design is transferred, the shawl is first nicely smoothened out. Then it is transferred onto the shawl with the help of charcoal or other coloured powder. The design is then embroidered using multicoloured threads.
Papier-mache: Essentially the bolder variant of the Sozni embroidery using multicolour satin threads beautifully embroidered to form intrinsic designs and motifs are the speciality of this form of embroidery. To give the design a protruding embossed look, the artists outline the designs in dark, contrasting or black colour that mimics the original papier mache handicrafts’ motifs.
Kalamkari. Another practised style where the artisans tend to follow a strict 20 step methodology to reach the desired outcome. They use bamboo pens and natural dyes to paint over the shawls, before embroidering.
Types of Motifs
The craftsmen have modified the traditional motifs of Islamic and Persian influence to something with a distinct Kashmiri characteristic. The most popular of those are the Gulab pattern and the Badam or almond pattern. It is also known as Shawl-tarah. Another commonly seen motif is that of the Sarav or Cypress. This is similar to the Badam shape but is long and tapering. Stylised versions of the Sarav are also created which has floral, intertwining and curvilinear additions. The craftsmen also use motifs of the Chinar leaf. This is the five-pointed leaf of the Chinar tree which has come to be the symbol of growth in Kashmir. Calligraphic forms are also used in the embroideries. Some of the other motifs which are commonly used are :
- Pamposh or lotus
- Sosan or Iris
- Dachh or vine
- Sumbal / Yambarzal or hyacinth and narcissus
- Dainposh or pomegranate
Abstracted forms of birds and animals are also seen in the recent designs. Lions, rabbits, wild cats, deer, horses, bulbuls, partridges, herons, ducks etc are most represented. Human figures appear in the patterns whenever requested by the clients and when there is an increasing demand. Especially in themes like the Shikargah (hunting ground) or the Jangal-tarah (jungle scenes) that originated and flourished under Sikh rulers. The Pherans traditionally have embroidery around the neck, front opening, hem and at the end of the sleeves. To understand Kashmiri embroidery, one needs to understand the history of the valley. With changes in invasion and patronage, the styles changed to keep up with the demand. The Afghans modified the traditional shawl and introduced the square or moon shawls, with distinct colours and patterns that differed vastly from the Mughal era.
Types of stitches
The stitches used were simple, the chief being satin stitch, stem stitch and chain stitch. Occasionally, the darning and herringbone are used. Kashida is general term for Kashmir embroidery, which includes other stitches as Vatachik (Buttonhole stitch), Talibar (work of gold). One outstanding feature of the embroidery is the fact that it is made with a single thread giving a flat, formalized appearance to the design. The satin stitch has been adopted to cover larger surface without pulling the cloth. It has become the variation of long and short stitch. Chain stitch is used only in inferior places and never on expensive piece of work. A completed Kashidakari looks exactly the same on both the sides of the cloth, and can be worn from either side. The colours used are safed (white), zingari (green), uda (purple), ferozi (blue) and gulnar (crimson).
