KASMHIRI KANI WEAVING

A STUDY OF TRADITION, TECHNIQUES, AND

CULTURAL SIGNIFICANCE
By- FD SEM 5

Mentor- Mr. Deepak Sharma

KANI
THE ART OF WEAVING
 Project Overview
Abstract
This presentation provides a comprehensive exploration of the traditional art form of Kashmiri Kani weaving
It delves into the historical background, intricate techniques, and unique designs associated with this craft,
highlighting its cultural heritage and economic significance. Through primary data collection and craft
cluster visits, the research captures the essence of the artisanal process, creative inspirations, and the
challenges faced by craftsmen. The documentation also examines the raw materials, tools, production
processes, and contemporary trends. The study's insights emphasize the importance of preserving and
promoting this traditional craft, offering a thorough understanding of its socio-economic impact and
cultural value.

Purpose
The primary aim of this study is to preserve and promote the unique art form of Kashmiri Kani shawal
weaving. By fostering awareness of its cultural significance and the intricate craftsmanship involved, the
study seeks to support the implementation of government policies and initiatives that safeguard this
heritage. The research also endeavors to inspire appreciation and support for the artisans, ensuring the
continuation and sustainability of this traditional craft for future generations.
 Members

Tannu Namita Sristhi

Yashmi Babitha Sraddha

About Kashmir
Kashmir, known as "Heaven on Earth," is celebrated for its
stunning landscapes and rich cultural heritage.
The region features a blend of Hindu, Buddhist, and Islamic
influences,visible in its diverse architecture and arts.
Its crafts, including Pashmina shawls, Kashmiri carpets,
walnut wood carvings, copperware, and willow wicker, are
crucial to the local economy and cultural identity.
Notable cultural sites include Shankaracharya Temple,
Hazratbal Shrine, and the Mughal Gardens, with chinar trees
symbolizing the region’s heritage.
Background and provenance
About the craft
Introduction
Kani shawls, a decoratively rich textile from Kashmir, are a
testament to artistic legacy and cultural heritage.

Woven from pashmina wool, they have been in vogue for centuries
due to their luxurious feel and symbolic values.
Originating from Kanihama, they are a product of pain-staking
labor and extreme skill, with intricate designs and motifs
.
Despite political turmoil and machine-made imitations, their
authenticity remains intact. Kani shawls, originating from the
Kashmir Valley of India, have a rich history dating back to the 15th
century.

"Kani" refers to the wooden sticks used in weaving intricate designs

inspired by nature. These shawls were considered luxury goods and
were worn by royalty and elites in Europe during the 18th and 19th
centuries.

.
Origin of the craft
"Kanihama" is a compound term made up of the Kashmiri
words "Kani" (wooden sticks) and "Hama" (village)

referred to as the "handloom village of Kashmir" and located

along the Srinagar-Gulmarg route.

Because of the heavy taxes imposed on kani shawls in the

18th century, the art had all but vanished.

Kanihama is largely responsible for the kani shawl's

comeback. About 50 years ago, when this craft was in
danger of disappearing, a campaign to revive the kani
shawl was launched.

The people in the area credit Ghulam Mohammad, a former

member of the legislative assembly, with revitalizing the
trade.

Initially, Kanihama held a monopoly on the art of kani

weaving; however, over time, the neighboring towns of
Mazhama and Batpora also began to embrace the craft.
History
Shawls were first portrayed in art in the middle of the 1660s; they were wide
and long, with embroidery at both ends.

Kashmir became a major hub for the manufacture of shawls over time,
turning out some of the best women's shawls for both local and foreign
markets.

Around the middle of the 19th century, shawls with embroidery were also
referred to as sozni.

Shawls were adorned with walnut wood block prints on wooden blocks
throughout those years.

With at least 400 shawls under her belt, Empress Josephine of France
eventually ignited the Kani Shawl fashion movement throughout Europe.

Persian and Turkish weavers first taught the art of weaving kani shawls to
Ghiyaz-wud-din Zain-ul-abidin, the eighth sultan of Kashmir, in the fifteenth
century.
History
Ain-i-Akbari claims that King Akbar owned multiple pieces from this
collection and was a huge devotee of Kani Shawl.

This shawl is an Amli, which is a kani-woven scarf with embroidery on one

side used over a pashmina.

It was made in the late 1800s and is thought to have taken around 30 years
to finish.

It was made as a showpiece and was never intended to be worn.

It is thought that Maharaja Ranbir Singh of Kashmir ordered the painting,

which is presently kept at the V&A, to be given to the Prince of Wales as a
present when the latter traveled to India in 1875.

The dorukha was the most remarkable embroidered shawl. There is no such
thing as a correct or wrong side because the douche shawl has the
identical design on both sides.

Queen Victoria did the same thing in England.

Raw Material
Pashmina Wool
Dyes

Tools
Charka (Spinning Wool)
Loom
Shuttle
Reed
Pickup Sticks
wooden Needle Kanis
Characteristics and Uniqueness
The fineness of sheep's wool is 23 microns, whereas human hair can reach 200 microns. In
comparison, the fineness of pashmina wool is between 14 and 13 microns. As a result, the pashmina
shawls are incredibly warm, light, and silky.

The pure pashm wool is so delicate and fine that it can only be spun and woven into fabric by hand
because it breaks so easily throughout the whole process

The age-old techniques used in the production of pashmina that date back more than 2000 years
have contributed to the preservation of the wool's distinctively soft quality and produced the most
exquisite pashmina products in the world of craft. The International Journal of Advanced Research,
2016.

Colored yardage in widths ranging from 28" to 54" is weaved to create the traditional Kashmiri
pashmina shawl, which is then turned into shawls and other accessories.

There are eight distinct steps in the process of creating a kani shawl, and each one must be finished
by hand because the fiber breaks throughout and can only be tied by hand. As a result, the cloth is
entirely hand-spun and hand-woven.
Properties of Pashmina
1. Physical Properties
Fibre fineness is the most important quality parameter giving value to pashmina fibre and
differentiates it from the sheep wool. The average fibre fineness is 14-13 µ.

The fineness distribution lies in the range 9-20 µ. The average fibre length is 55-60 mm.

The fibre length depends on its source, origin/genotypes and grade. The mean fibre length of
guard hair varies from 25mm to 93 mm, which needs to be combed/sorted for better
spinnability .
Loom
Khrawa- Sort of pedal help to change the setting of the loom.
Shift- Harness is the frame of the loom that holds the warp threads.
Oath-Main body of the loom.
Tareez-For balancing the steel rods.
Paeluh – A log the weaver sits on
Trag – Holds the loom together.
Tanglot – Helps to tighten the shawl warps and wefts.
Shum- Rope attach to the log.
Navarda – Help to roll the shawl.
Balne – The thick thread that hold the steel rods.
Dalne – Loom thread
Khorkoot – Helps to roll the loom threads.
Laib-tham – side log of the loom
Raz – A rope that helps to hold the Shum.
Patt – A log in which they sit to weave
Khrav-balne-Rope that hold the steel rods.
Treye – The rods
Durvanza-Vertical logs of the loom Shurva
Chinar Dar Adwar Dar Kashmiri Booni

Gulab Aftab Border Gulab Anar Naksha

Gulab Ther Yemberzal Strip Dar

Khrawa Shift Trag

Tanglo Shum Balne

t

Trag Tanglo treye

Techniques Of Production
Methodology
Techniques There are three Kashmir valley districts—Srinagar, Budgam, and Ganderbal—where the
production of Pashmina shawls is more common. Weavers and spinners alike were among the artisans
chosen for the investigation.
There were field investigations carried out, and the artisans were chosen at random. Information about the
process being modified for the production of Pashmina shawls using traditional methods was gathered
using a semi-structured questionnaire with open-ended questions. Based on the data collected from the
craftsmen, Kashmir's traditional shawl-making and processing techniques can be broadly categorized into
four areas.

Pre -Spinning
Spinning
Weaving
Finishing
Pre-Spinning Process

1.Harvesting
In the spring, when animals naturally shed their undercoats, the
pashmina is harvested. The goat begins its moulting process in mid-
March and continues until late May, depending on the season and
weather. It is carried out by combing by hand. Because the guard
hairs on pashmina fibers are coarse and mixed in with the fibers,
hand dehairing comes after combing.
2.Sorting/Deharing (Punch-Nawun)
Sorting/dehairing is the process of separating
guard hair from undercoat or pashmina. The
majority of the people who manually sort pashmina
are women. In certain locations these days,
machine dehairing is taking the place of manual
dehairing.
3.Combing
Enable effective processing, a lot of contaminants, such as
dust, sloughed epithelium cells, and vegetal matter, must be
removed from raw pashmina. Parallelizing the fibers and
getting rid of these contaminants are the goals of combing.
Traditionally, combing is performed by repeatedly impaling
raw pashmina that has been dehaired on an upright comb (10
cm broad, placed on a wooden stand). By manually pulling
each tuft through the comb's teeth, the tiny lumps of fiber are
straightened. Until the tuft is clean enough to spin, the
procedure is repeated three or four times.
4.Gluing
Applying glue substance to a pashmina is known as gluing. Using
pounded rice accomplishes this. The pashmina is put in a container
and left for one or two nights on top of a layer of pulverized powdered
rice (kharioat). The goal of glueing is to provide the fiber additional
hydration, strength, and softness. To ensure that there are no
remnants of the crushed rice powder, pashmina is once more
combed. The freshly cleaned pashmina is now shaped like a patty, or
thumb in the local language.
Spinning Process
Continuous untwisted fiber strands are transformed into the necessary yarn count and twist through spinning,
making them ready for additional processing. The spinning wheel known as a yander or charkha is used for
spinning traditionally. This approach involves holding a little tuft or thumb of pashmina between the left hand's
second and third fingers, with the thumb providing support. Raising and lowering the hand carrying the fiber in
perfect sync with the wheel's rotation, the spinner uses her right hand to turn the object. This is a very deft
maneuver. The yarn created by the spinning wheel is spun on a grass straw or any other light fixture known as a
"phumblet" in the area. On a hand reeler, the spun yarn on these holders is doubled. On the same charkha, the
double yarn undergoes twisting or pilling with the direction of twist reversed. After that, these yarns are formed into
hanks for marketing on a wooden reeler known as Yarandul in the area.
Carbonisation
For machine made scarf, this process is done. In this the prepared yarn is soaked in 5% HCL in which the nylon get
dissolved and only the pashmina thread remains. One disadvantage of a machine made scarf is that the process
also damages the fiber at the same time.

Dyeing
For making of kani shawls traditional designs and
motifs are used. Both natural and synthetic dyed
pashmina threads are used for weaving.
Most Pashmina fabrics are dyed in dark and light
colours such as red, blue, yellow, green and black.
Acid dying is done by adding sulphuric acid at a pH of
2-3.
WEAVING
The pashmina yarn is spun into kani once it is prepared for weaving. The handloom is then set up, and the weaver receives
the design for the shawl, also called a taleem. It's a coded design pattern that takes expertise to decipher. You use graph
paper for it.

There are three main divisions in the process of creating a Kani

shawl.

Preliminary Steps
Warp arrangment ,dressing and threading
Kani Shawl Weaving

Thus, the average time required to make a single shawl is

between three and six months.
1.Preliminary Steps

Pashmina wool is used to craft this shawl. Fine grade pashmina is harvested from Chantangi breed of goat.
Freshly harvested pashmina is undergone through previously mentioned pre-production process and spinned
into threads.

Pashmina naturally occurs in 2 colours:

White and brown.

Spinned threads are sent to craftsman to weave the shawl .

2.Warp arrangment , threading
Kani shawls are made using traditional patterns and
themes. Weaving uses both synthetic and natural
dyed pashmina threads. The pattern that needs to be
drawn on shawls is known as Talim and is coded
using numbers and colors.
A "Naqash" is the individual who writes a talim.
Talimguru prepares the code pattern. It was originally
written in Persian. However, programs like Kalin
Weaver and Naqash are now available.
Talim
Talim was traditionally drawn in numbers and shapes
for color and design on brown or orange paper. Talim
may contain sixty pages or more.
Additionally, the design is printed on graph paper so
that the weavers may match the weave
synchronization with the intended design. To encode
the design into Talim, there are specialized software
programs.
3. Kani Shawl Weaving
Using a warp creator, the warp (base) is first created. "Double Interlocking" is the weaving method used to
create kani shawls. It entails interlocking each weft thread while it is being replaced with a new one. Weft
thread movement creates colored patches by shifting the bottom of the weave to the top.
Because it is made by the weft threads moving in a straight line side by side, it is not as common as regular
weaving designs.
The kani sticks are wrapped in the chosen color weft threads.
The prepared kani sticks are inserted over and under the nearby warp threads to complete the weaving
process. The arrangement of different colored Kani sticks mimics the pattern of the shawls.
If two distinct colors must be added to the design at the same time, two kani sticks are connected by
interlocking and then woven together. Approximately 100-150 kani sticks are used in each kani shawl on
average.
POST - PRODUCTION
1.Finishing
The shawl we get after weaving is not finished and
pashmina yarn breaks many times as you weave.
To join the threads, the weavers tangles the threads
together, causing the threads to spread throughout
the shawl.
These threads are clipped through a process called
purz.
The washed cloth is then sent to the purzgar.
Here, the fabric is tweezed, cut or brushed to remove
any surface imperfections.
The frame for this system consists of two beams of
light approximately 2/3 meters in diameter and 1.25
meters long, located at an angle of 450° and 1meter
apart.
The fabric is mounted on rollers called mounds, and
the uneven threads are pulled tautly between the two
before being removed with long tweezers called
wouch.
2. Use of kasher
To free the fabric with airplane threads, the cloth is rubbed with a dried wiry core of gourd, bitter gourd or a maize
cob called Kasher.
Washing
The fabric is then washed by dhobi and the final
washing is done with mild detergents

He washed the cloth in running water and

repeatedly striking it over some hard surfaces
such as cemented base or hard stones.
4. Drying and Streching
The fabric is simply spread left stretched for several days together in sun.
Product Quality
Product quality according to the artisans.

The good product or we can say that the shawl should be

handspun and real pashmina. It should be not less than 81".

Difference between the failed product and the one is perfect is

if the fabric is real or not. The shawl must be real pashmina
and handmade, not machine made.

The shawl's should not be less than 81".

Artisan's evaluation on a failed product. What could go wrong?

suppose the shawl price is 10k. If one of the design goes wrong
then the owner will cut down 3k from the wages of the artisan's
and he will get only 7k. So the artisan have to bear the
consequences. Sometimes the yarn used in the shawls have
bad quality. It is the possibility that the yarn can tear down in
the middle. It can also be the failed product.
5. Packaging
They are more focused on the quality of the product and not the packaging. There packaging is minimalist
as it contains:

1. Polythene bag
2. Paper handbag.
Suggestion for packaging
They should have region based packaging and that is also verifies by GI.

They should use butter and brown paper so that the product stays exact same when they're packed.

They can use a Dori made up of kani only for tie the paper with product

Finally, they can use cloth bag or paper bag.

They can provide a written note which include some information about the craft.
6.Promotion
Government of India has been providing marketing facilities for all handloom products including Pashmina Shawls all
across the country under Handloom Marketing Assistance (HMA), a component of National Handloom Development
Programme (NHDP). Since 2016-17, a total of 678 Handloom Marketing events/expos have been organized in different
states to help weavers from all across the country to sell their products.The above product is also registered as Kashmir
Pashmina vide application No.46 under Geographical Indications of Goods (Registration and Protection) Act, 1999.

Government of India has sanctioned 2 numbers of Textile Parks in Jammu and Kashmir under Scheme for
Integrated Textile Park (SITP). Details are as under
Motif
Kashmiri Aari Kaem is an art form inspired by the beauty of Kashmir. It incorporates classic motifs like :-

Chinar Leaf (Booen Paanwath)

Paisley (badum) Rose ( Gulab posh)
Narcissus (yambarzal) Lotus Stem ( Nadru )
Pomegranate (daenposh) Kashmiri Aari Kaem i
Lotus (pamposh) Lotus Stem ( Nadru )
Iris (sosan) Deer ( Roos-ket)
Oil flower ( Gulekhtab) Lion (Shah)
Grapevine (dachh) Flower (posh) Duck ( Batakh)
4 paiselys ( Chaarbadam ) Tulip ( Guli Lala)
hoopoes (sattut) Walnut ( Doone)
Parrot (tota) Jalidar Design - mesh or net effect.
Sparrow ( chrr) Khatraash - straight or diagonal Lines.
five petal flower ( Emberzal ) Dordar Khuhrd - 2" to 3" embroidered border.
Bootidar - Filled with booti or paisleys.
Chinar Dar Adwar Dar Kashmiri Booni

Gulab Aftab Border Gulab Anar Naksha

Gulab Ther Yemberzal Strip Dar

Colour
Color palette includes jewel tones, earthy shades, and pastel colors, reflecting the natural beauty of Kashmiri
landscapes .

COLOURS LOCAL NAME DETAILS

WHITE SAFED ACHROMATIC

GREEN ZINGARI HUE, SHADE

PURPLE UDA TINT

BLUE FEROZI TINT

YELLOW ZARD HUE

BLACK MUSHKI ACHROMATIC

CRIMSON GULMOR HUE

SCARLET KIRMIZ TONE

Type of Designs
The Palladaar Shawl features an intricate pattern on its two ends and a thin border.

Hashiadaar Shawl is completely surrounded by nanow flowing borders.Little or big "butis," or single motifs, are
frequently used in the Butidaar Shawl.

Butidaar Shawl, in which small or large "butis" (individual motif) are used repeatedly.

Khat-e-rass Shawl, with its array of striped patterns presented with almond leaf and flower motifs.
Longedaar and Thahridaar are two types of striped shawls.

Purmattan shawl, also called jamawar, in which intricate designs and themes cover the full fieldChand-daar
ShawlsShawls that are square or rectangular and have four quarter medallions on each corner, centered on
a medallion. It is also known as the moon shawl.

It's also known as the moon shawl.

Palladaar Hashiadaar Jamawaar
DIFFERENCE B/W HAND AND MACHINE KANI
Production process Woven by skilled artisan using Produced using automated machines
traditional methods

Time taken Takes several months to Produced quickly often within days
complete

Craftsmanship High level of craftsmanship Standardized design , less intricated

,with intricate unique designs
more affordable due to mass
Cost Generally more expensive due to production
labor and time

Design Unique , with variation in each Repetitive , with uniform patterns

piece

material quality Often made from high quality of Varies, sometimes lower - quality
pashmina wool material

durability More durable, with attention to May be less durable due to machine
detail in weaving process

Cultural value High culture and artistic value Widely avaiable

often seen as a heritage item
 Jamawaar

HAND MADE MACHINE MADE

The Honor Fabric
The world is changing, yet our traditions are still upheld.

As a token of respect and gratitude, it is customary to give them a shawl.

There are two ways to gift the shawl: either gently offer it by hand or place it over their neck with grace.

A shawl is the object of the highest respect since it is among the most priceless textiles and the result of
exceptional skill and cultural heritage.
Festive, Ceremony and Custom
The most exciting part of Indian customs are its festivals.

The fact that multiple unique civilizations live in one country is the reason for the abundance of festivals that
exist.

The shawl adds a traditional and stylish touch to any outfit when worn with it.

When the shawl is given to the bride or placed over her forehead, she is entrusted with the responsibility of
maintaining the honor and respect of both her own home and the one she is marrying into.

The shawl is a source of pride for India in many aspects, from preserving customs to enhancing
sense of style.
Artisian
Name: Mr. Mushtaq Ahmad Wani

Location: Narayan Bagh

Occupation: Artisan, head handler of kani shawls

Specialisation: Directing and marketing

Skills: knows the target market and recruits other artisans

Experience: 30+ years

Training/Education: 8th pass

 About The Craft Person
Name: Afreen Name: Raza Moshi
Location: Shora Location: Ganderbal
Occupation: Artisan, designs the motif and Occupation: pixelation talim
does the colour gradation

Name: Daisy Shora Name: Manzoor

Location: Narayan Bagh Location: Shora
Occupation: Artisan, Weaver of Kani shaw Occupation: Artisan, weaver of kani shawl

Name: Wusqa Khan

Location: Narayan
Occupation: Artisan, weaver of kani shawl
Market Dynamics
Market trends indicate strong demand for both traditional
and custom pieces, with challenges including design
imitation and competition from synthetic alternatives.

Supply chain issues and the declining number of skilled

artisans affect production and market stability.

Opportunities exist for expanding into the highend market

and meeting the growing demand for customization.
Kani Shawl Market
Consumer tastes and design aesthetics are changing quickly
in the pashmina shawls market, which reflects the blending of
traditional and modern style. Pashmina goods that are
ethically and sustainably sourced are becoming more and
more popular, meeting the need for eco-conscious fashion
throughout the world. In addition, the industry is adopting
digital channels, with social media and e-commerce being
crucial in boosting the exposure and accessibility of these
opulent and culturally significant items
Impact of Covid - 19 on
market
As lockdowns and travel restrictions were imposed worldwide, the
production and supply chains were affected along with consumer
spending, which led to a temporary downturn in the market.
However, as the world adapted to the new normal, there has been
a gradual recovery. E-commerce platforms played a crucial role in
driving sales as online shopping gained prominence. Additionally,
the market has seen a shift towards sustainable and ethically
sourced Pashmina products, reflecting changing consumer
preferences.
Global Pashmina Shawls Market 2024 Report
According to Cognitive Market Research, The Global Pashmina Shawls market size will grow at a compound annual
growth rate (CAGR) of 5.80% from 2023 to 2030.

The demand for Pashmina shawls is rising due to the increase in cultural and traditional significance in South
Asian countries.

Demand for women's style remains higher in the pashmina shawls market.

The pure pashmina category held the highest Pashmina shawl market revenue share in 2023.

Asia-Pacific will continue to lead, whereas the North American pashmina shawls market will experience the
strongest growth until 2030.
Compitive Landscape of Kani Shawls
The market for Pashmina Shawls has a different competitive
environment. Major key players dominate the market with their quality
craftsmanship and premium materials. Sustainable and ethical
practices also influence the market; other collaborations with fashion
influencers and expansion into emerging markets contribute to the
dynamic landscape.

Interpreters Unlimited (IU) introduced a new mobile app for ordering

Pashmina Shawls. With the creation of the first auto-scheduling system
in the industry and its distinctive client web portal software, IU has
always kept up with the most recent advancements.
Costing
1.Machine-made Kani Shawl:

Price Range: ₹2,000 to ₹6,000

These are more affordable and are often made using

synthetic fibers or blends.

2.Handmade Kani Shawl:

Price Range: ₹10,000 to ₹1,50,000 or more

Handmade Kani shawls are more expensive due to the

intricate craftsmanship, high-quality materials (like
Pashmina), and the time it takes to produce them
Pashmina Kani Shawls Age Group Segment
Analysis
According to Cognitive Market Research, adults constitute a significant portion of the Pashmina shawls market.
Adults are likely to prefer classic and timeless designs that can be worn at various times, from casual outings to
formal events. Quality and craftsmanship are crucial considerations for this age group, as they are willing to
invest in durable, authentic Pashmina shawls.

Seniors tend to prioritize comfort and warmth when selecting Pashmina shawls. They are more inclined to opt
for thicker and cozier Pashminas, as they often use them to stay warm in colder weather. Seniors may also have
a deeper appreciation for the heritage and craftsmanship associated with Pashmina, making them potential
buyers of premium, handcrafted pieces.

Young Adults
Adults
Seniors
Pashmina Kani Shawls Material Segment
Analysis
Pashmina Kani Shawls Material Segment Analysis

The pure pashmina shawls are the pashmina shawls market's most popular offering. These are made from the
finest and most luxurious type of wool sourced from the underbelly of Himalayan mountain goats. They are
considered a symbol of luxury and are favored by those who appreciate the authenticity and heritage
associated with Pashmina.

According to Cognitive Market Research, silk blend is the second-most popular material. They are crafted by
combining Pashmina wool with silk fibers. Silk blends offer a balance between the warmth of Pashmina and the
lustrous appearance of silk. These shawls are versatile, suitable for both casual and formal occasions, and often
come in a variety of vibrant colors and patterns.

Pure Pashmina
Silk Blend
MARKET VISIT
Brand Research

About PASHMINA

Pashmina is a luxury brand committed to preserving the traditional

artisanal craft of Pashmina. Our endeavor is to facilitate the production of
authentic handcrafted Pashmina to ensure its sustainable growth. We
aspire to design and develop beautifully handmade, timeless pieces from
the finest Cashmere yarns through sensitively understanding the craft
and blending its traditional essence with contemporary patterns. With a
passion to work in an ethically responsible environment, Pashm strives to
conserve the age-old practices of handcrafting pure Cashmere by
nurturing present-day relevance in the very heart of this heritage craft
PRODUCT RANGE
NEWS HIGHLIGHTS
Issues and Challenges of Craftperson
Labour issue

Due to the rising cost of the raw materials.

Decreased demand due to introduction of fake

pashmina shawls in market.

Artisans have no particular union of their own where

they can fix the rate for their labour. Manufacturers
find a number of options

Artisans themselves are ready to work on low labour

as they don‘t have any source of earning their
livelihood.

Ban on ―SHAHTOOS is also one of the reason of

their low labour. When they were used to weave
Shahtoosh shawl their earning was double as
compared to Pashmina Shawl.

Artisans have the lack of information of Labour right .

No financial support
Majority of artisans don‘t have their own loom and other resources to work for
their own piece and as such they are bound to work for manufacturer on his
condition. Also , if they want to the sells on there own there is always a threat
of cheaters in the market which makes it very difficult for the artisan to take a
risk of working on their own products and sell them on their own.

Shahtoosh ban
The artisans performing the same work on Shahtoosh shawl as being done on
pashmina product would fetch an income almost double. The artisans were
demanding immediate end to the ban on Shahtoosh and wanted the raw
material to be removed from the Cheru without killing the animal.

Inaccessiblilty of the market for the independent

Working for own products invites a number of problems and risks for the
artisan and one of them is the availability of the market for their products.
Artisans working for their own products have to look for the customers
themselves and since they will be having production on a smaller scale, they
have to look for the customer.
Registration problem
Majority of artisans are not registered with any group /association/Govt.
Departments and they are being deprived from the privileges given by
State or Central Government to Artisan groups.

Old age problem

Middle man

Introduction of machines
Artisans were found to be divided on the introduction of machines since
some of them favored the introduction while as majority of them
considered it to be the reason for the downfall of the pashmina business.
While almost all the artisans said that the machine introduction for
dehairing & cleaning is good since it has speeded up the production
process. However the spinning machines are not good indication.
ISSUES AND CHALLENGES of Trader
Improper management of arts emporium
They said that arts emporium was basically meant for the purpose of providing the
authentic products to the customers from all over the world who visit Kashmir. They
alleged that the whole management system in the Arts Emporium is defunct and
haven‘t played the role for which it was meant. The traders said that the arts
emporium could have been a very vital platform not only for the traders but also the
local artisans who could have grown up with passage of time provided the emporium
would have played the basic role with honesty and morality.

Registration problems
Many traders are not registered with any group
/association/Govt. Departments and are thus deprived from
the privileges given by State or Central Government
specifically for these groups. The general perception of the
traders about the registration was found to be very poor.
Issues and Challenges of Trader
Scarcity of raw material
Raw Pashmina i.e. pashm comes from the upper ranges of Ladakh region. Raw-Material is not sufficient available in the
market. As per the traders, ten years ago the raw material was easily available in the market at the lower prices of
3000 per kg which is presently priced at 10000 per kg. Kashmiris have no direct access to raw material and they have
to refer the middlemen and it is these middlemen who get profit from both the sides i.e. from the Ladakhis (seller)
and from Manufacturer (buyer) and thus it is the involve.

Womenfolk abanding spinning

The women folk are provided one Tola of pashm for Rs 90 and they are given Rs 1 for one gund (9 threads of 9 inches/
12 threads of 11 inches) and one tola of pashm is spun into 200-250 gunds depending upon the fine spinning of women.
The hand spinning of pashm incurs around Rs 8-9 per gram for spinning. Hence women today can earn 100-150Rs for
spinning one Tola of pashm which previously used to fetch them almost 200Rs as cost of one Tola was lesser and
quality of pashmina was far better.
 Swot Analysis

S
Highly Skill
Rich Culture Heritage
W
Labor Intensive
Intricate Design No direct access to market
Use of natural raw material No branding and packaging
Inherited skill from generation to generation Shrinking raw material availability
Unawareness about technology
Lack of interest in younger generation.
ess income or wages

ORising demand for handicraft products

in developed countries.
T Competition in domestic markets.
Can also get placements in the O Increase in better technology like
design brands like Sabyasachi, Manish machinery Embroidery is taking
Malhotra, etc. over.
If young/new people won’t shake
E-commerce and the Internet are
hands with the craft it might die in
emerged as distribution channels to
market and sell craft products near future.
Support Department
Craft Development Institute (CDI) is an autonomous institute that was
established in 2004 by the Government of Jammu and Kashmir and the Ministry
of Textiles (Development, 2008) (Development, 2008). It is focused on the
integrated development of the Indian handicrafts sector, especially in Jammu
and Kashmir

To provide relevant craft education to young people and envision

employment opportunities that will make it an attractive career option.

To co-partner with various stakeholders, individuals and agencies working in

the sector to implement a sustainable development process.
To create avenues for entrepreneurship in handicrafts.

To mentor new generation artisans through workshops and trainings.

To help artisans/craftspeople to adopt main requirements of art/craft,

quality and production. It also aims in assisting them to meaningfully
translate contemporary market trends in design, and issues of standards,
certifications and compliances.
Government Scheme
SHEFEXIL (Shellac & Forest Products Export Promotion Council) works to promote the export of Kani shawls and other
handicrafts.

Craft Revival Trust focuses on the preservation of traditional crafts, including Kani weaving, through documentation
and support for artisans.

Kashmir Pashmina Kani Weaving Cooperative a cooperative effort aimed at supporting Kani shawl weavers by
providing them with resources and market access
National Handloom Development Programme (NHDP) , this government initiative aims to enhance the
production, infrastructure, and marketing of traditional handloom products like Kani shawls.

Artisans Credit Card Scheme, under this scheme, the government provides credit facilities to Kani shawl
weavers to help them purchase raw materials and meet other production costs.
Specification
Instead of utilizing a shuttle for the weft strands, it is hand weaved
using several "Kanis" or "Tujlis." "Kani" is a tiny, eyeless wooden spoke
that is put around a predetermined number of warp threads in
accordance with the pattern and is covered in colored yarn.

Is weaved using the Twill Tapestry Weave, where weft yarns

interlock at each color junction.

Is woven by traditional Kashmi artists using written instructions in

the form of a "Talim".

Is composed of warp and weft threads that have been dyed in a

variety of colors using traditional techniques.
Why it was given
These kashmiri shawls have a rich history dating back to the Mughal Empire, more than 300 years.

Pashmina is the base fabric used in the kani shawl. This will is unique in that it comes from a certain goat
located in specified climate and geographical conditions.

Kani shawls are made with a special code or talim that can only be done by indigenous weavers.

The GI protection act ensures that the items received by clients are completely genuine and original. Aside
from that, the GI Act ensures that these handicrafts gain popularity in both national and international
marketplaces.
A geographical indicator (GI) is a label applied to goods with a particular geographic origin and characteristics
or a reputation derived from that origin.

Application number - 51

Geographical indication - kani shawal

Status - Registered

Applicant name - Tahafuz

Applicant address- A Society registered under the J & K Societies Registration Act, 1998. CDI Campus, Opp J & K
Bank, Baghi - Ali - Mardan Khan, Nowhsera, Srinagar, Kashmir - 190 011, India.

Date of filing - 13/02/2006

Goods - Handicraft

Geographical area - Jammu and Kashmir Priority

certified date -27/11/2008

Certificate Number - 83

Registration valid upto - 12/02/2026

Journal Number - 13

Class - 25
 Conclusion
Kani shawls reflect supreme craftsmanship and rich cultural heritage from the Vale of Kashmir. Such are
the intrinsic designs, vibrant colors, and tons of very exhausting labour that these pieces have been
treasured through generations as symbols of luxury and fine art.

Traditional Kani weaving is a reflection of generations-handed-down expertise that forms an inseparable

link between artisans and their crafts, making each shawl a singular piece of a masterpiece.

Thus, while the Kani shawl continues to hold its position as a prized possession among collectors and
connoisseurs today, it also holds within itself a symbolism of the importance of tradition in the face of
progress.
 Suggestions
Promoting the craft through social media like Instagram and YouTube, to reach a wider audience and
create awareness about its value and uniqueness. Creating Stories about the craft.

Promoting craft tourism in Kani Hama village Providing training and financial support to the existing and
aspiring artisans to improve their skills, quality, and productivity of the craft by taking help from
government agencies or NGOs.

Encouraging innovation and experimentation with new designs, colors, patterns, and materials to cater
to the changing tastes and preferences of the customers Collaborating with other stakeholders such as
designers, retailers, NGOs, government agencies, and academic institutions to create a network of
support and opportunities for the craft.

Preserving and documenting the traditional knowledge, techniques, and motifs of the craft for future
generations.
 Research Methodolgy
The qualitative and quantitative data of the Pashmina Shawls Market is prepared through various research
considerations such as subject matter expert advice, primary and secondary research.

Primary research leverages valuable information from face-to-face and/or telephonic interviews and
surveys, questionnaires, industry expert opinion, KOLs, customers, and others.

Primary interviews are conducted regularly with industry experts to create in-depth expert information on the
market and to substantiate the existing analysis of the data.

Secondary research done by Verified Market Reports research team through various sources such as
Company websites, annual reports, financial reports, investor presentations and SEC filings

Internal and external proprietary databases, relevant patent, and regulatory databases.

National government documents, statistical databases, and market reports.

News articles, press releases and web-casts specific to the companies operating in the market.
 Refrences
REFERENCES... 52 M Kalyanaraman-
https://inmathi.com/ ( accesed on 9th April,2023) Supporting Department CDI
- http://cdisgr.org/about_cdi.html (accessed on 6th April,2023) CDI-
http://www.jkindustriescommerce.nic.in/cdi.html (accesed on 6th April,2023) Kashmir Loom-
https://kashmirloom.com/en-gb/pages/about-us (accessed on 6th April,2023) Kashmir Loom-
https://www.architecturaldigest.in/story/kashmir-loom-a-studioin-the-countryside-that
-produces-luxury-pashmina/ ( accesed on 6th April,2023)
Post Production Asif Soni, Feroz Din Sheikh, S.Wani (2012) – Pashmina shawl - A traditional way of making in Kashmir.
Beig’s of Bota Kadal- https://purekashmir.com/blogs/purekashmir/pashminaweaving (accessed on 5th April,2023)
Gyawun.com - https://www.gyawun.com/ (accessed on 5th April,2023) Varun Kumar- https://www.pashmina.com (
accessed on 5th April, 2023) Design Angela Jey- https://www.angelajey.com/blog/kani-shawl/(accesed on 4th
April,2023) Varun Kumar- https://www.pashmina.com ( accessed on 4th April, 2023) Product Beig’s of Bota Kadal
- https://purekashmir.com/blogs/purekashmir/pashminaweaving (accessed on 5th April,2023) Ms. Kalika Kekkar
- https://grandmaslegacy.wordpress.com/ ( accesed on 5th April) Marketing and marketing channels Beig’s of Bota
Kadal- https://purekashmir.com/blogs/purekashmir/pashminaweaving (accessed on 5th April,2023) Issues and
challenges Angela Jey
- https://www.angelajey.com/blog/kani-shawl/ ( accesed on 7th April,2023) Asana
- https://asana.com/resources/swot-analysis (accessed on 9th April, 2023) India Craft- http://www.india-
crafts.com/ (accesed on 9th April, 2023)
HANDICRAFTS ARE NOT JUST CRAFTS
THEY ARE OUR HERITAGE