Carpeted Realities

Carpet weaving is a major textile industry in Kashmir that employs many talented artisans. It is also an industry that celebrates craftsmanship of the highest order.

While Persian carpets are associated with class and elegance and pre-date the Kashmiri carpets, they have a rich history of their own and have contributed to the rich tangible cultural heritage of Kashmir.

   

While the Mughals oversaw the introduction of rich and ornate carpet weaving in India, with the Persian carpets making their debut in the Indian subcontinent under the Mughal emperor Akbar in 1580, the art of carpet making in this geographical region received a flip under the Mughal rulers like Jehangir (1569-1627) and Shah Jehan (1628-1658) who were both connoisseurs of art and culture with the former embracing patterns associated with natural landscapes on a regular basis in the crafts of his time.

The Kashmiri carpets adopted certain Persian motifs while modifying themselves as per the regional tastes. Hence, the indigenous Kashmiri carpet was a by-product of this innovation and catered to the masses and classes alike.

In fact, the intricate art of carpet weaving flourished during the reign of Zain-ul-Abdin (1395-1470) popularly known as Bud Shah who encouraged local artisans to practice this revered art form across the valley. Hence, carpet weaving proliferated as an art form through a top-down approach across the region.

Continuity & Change

While this art form has had a historical genesis and has subtly adapted itself to change with the vagaries of time, the Kashmiri carpets continue to remain the cynosure of all eyes in the valley and across India for their exclusivity and panache. Symmetry is a strong concept within the carpets barring the ‘tree of life’ concept that appears symmetric but in reality is asymmetric in nature.

These hand knotted carpets known locally as ‘Kal Buffi’ retain Persian cultural motifs like buds, vines, flowers and animals and complex designs that are reproduced within the weaves of a carpet through heavy reliance on a handwritten reference called Taalim. Similarly, the knotting of the carpet determines its durability and design. The carpets also come in multiple colours ranging from royal blue to brown and maroon that add to its polyvalence.

It is interesting to note here that carpet weaving continues to be a familial profession with family secrets passing on from one generation to another. The methodology adopted is unique and has an enduring quality attached to it with the eldest family member instructing younger weavers about the coloured knots to be used by enthusiastically serenading the instructions in a chant-like manner.

At a time, apparently only two weavers follow the instructions from the caller and commencing at either side of the rug, each weaver attempts to weave according to the colours of the design, working in an asymmetrical manner, as he moves towards the centre of the rug. This special way of passing knowledge about this traditional craft reminds us of the bardic tradition that is emblematic of Kashmir where music and folklore have found representation in the cultural practices of the region and have played a crucial role in keeping different cultural art forms alive.

Utility with Purpose

These carpets are also utilitarian in nature and their designs differ from each other based on the purpose for which they have been woven. For example, the prayer rugs used by people are known for their simplicity and include patterns of the mihrabs and niches. Interestingly, floral motives may be incorporated on the prayer rugs as well to beautify them.

At the same time, the namdas and the gabbas which are floor coverings and mattresses find themselves firmly ensconced in every Kashmiri household cutting across class lines. Namdas are made by felting while Gabbas are recycled, old woolen clothes that are washed, milled and dyed before being stitched together with the use of cotton cloth.

These variations of the indigenous carpets are cultural markers of an evolving Kashmiri society and are an important part of the quotidien existence of the people of the Kashmir Valley. These variants of the carpets are also inexpensive and readily available that add to their attractiveness.

Finally, any article on the art of carpet weaving is incomplete without mentioning the Kashmiri wall carpets which are another variation of the floor carpets. Unlike their counterparts that decorate the floors of Kashmiri homes, these carpets adorn the walls.

These wall carpets, which also use the chain-stitch method, incorporate similar patterns like the floor carpets but are considerably more innovative as they include figures of Mughal kings and queens, chinar leaves, birds and animals and hunting and fighting scenes as well.

Revival of the Art Form

It is tragic that despite the variations adopted by the carpet weavers, this craft is on the decline today due to poor wages offered to the skilled craftsmen who find it difficult to make ends meet with the meagre resources at hand. In such a scenario, regular efforts to revive this versatile art form must continue.

While the recent announcement calling for a Geographical Indication (GI) tag for the indigenous Kashmiri carpet is a step in the right direction, more efforts are required to incentivise the weavers and provide them meaningful employment.

An exhibition on the scale of the ‘Great Exhibition of 1851’ that was hosted in London, United Kingdom roughly two centuries ago, may revive the interest of buyers and give a new lease of life to this creative art form — bringing it much needed attention, recognition and international acclaim as before.

It is in our collective interest to preserve this art form so that our future generations can sit on a beautiful silk or wool carpet and admire its craftsmanship with élan.

Disclaimer: The views and opinions expressed in this article are the personal opinions of the author.

The facts, analysis, assumptions and perspective appearing in the article do not reflect the views of GK.

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