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The design process in Kashmiri carpet weaving is a distributed process encompassing a number of actors and artifacts. These include a designer called naqash who creates the design on graphs, and a coder called talim-guru who encodes that design in a specific notation called talim which is deciphered and interpreted by the weavers to weave the desig...
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Citations
... Kashmiri carpets are handmade and are knotted. The major centers for carpet weaving are at Srinagar, Anantnag, Bandipora, Ganderbal, Budgam, Pulwama, Kulgam, Baramulla, Kupwara and Shopian (Gravis 1954, Kaur 2017:509-524 , Majeed 2018Saraf ,1989Saraf ,1990. Besides carpets other types of floor covering found in Kashmir are the Namdahs, Wagoo and Gabba. ...
The handicrafts, textiles and arts of Kashmir are famous all over the world. The shawls ad carpets are probably the most recognisable of all Indian textiles and have a high prestige value associated with them. The crafts of Kashmir have naturalistic motifs on them, which are further developed in their designs and aesthetics. The Chinar leaf motif is one such and possibly the most recognisable of all. It is native to the Kashmir valley and is not found on any other art form from other parts of the country. It is one of the traditional motifs and is profusely used on all handicrafts and textiles of this region. In fact, the presence of the chinar motif is one of the identification markof Kashmiri products. Today it is popular amongst the tourists and has a high souvenir value. This paper documents the usage, depiction and popularity of the Chinar leaf motif. It also seeks to examine its historical background, changes and development. To understand the deep importance this motif has, interviews were conducted with local artisans, craftsmen, merchants and dealers of various crafts. Visits were also made to the local cottage industries and studios of the workmen to study its reproduction and development. This work will help to throw light on this motif, as there are very few studies which focus on the Chinar leaf design. It is important that we document and study this motif, as it is indigenous to this area and also as the Chinar tree itself has a significant cultural and religious value.
Purpose
The paper aims to discuss error detection and correction in Kashmiri carpet weaving (KCW), mediated by cryptographic code, Talim which is held to guarantee accurate information transference from designing to weaving, even after hundred years. Yet, carpets often show errors on completion.
Design/methodology/approach
Human factors analysis revealed error emergence, detection and correction in this practice whose task domains are distributed over large geographies (from in-premises to several kilometers) and timescales (from days to decades). Using prospective observation method, production process of two research carpets from their design, coding and weaving was observed while noting the errors made, identified and corrected by actors in each phase.
Findings
The errors were found to emerge, identified and corrected during different phases of designing, coding and weaving while giving rise to fresh errors in each phase, due to actors’ normal work routines.
Originality/value
In view of this, usual branding of “weaver-error” behind flawed carpet turns out to be misplaced value judgment passed in hindsight.
The present article focuses on the detailed investigation of the traditional pashmina Kani shawls woven in Kashmir. The finest natural fiber Pashmina is used for making widely popular Pashmina Kani shawls by handicraft personals. The study encompasses the raw materials used in making it, the type of handloom, the kani sticks, spinning charkha, along with different spinning attributes associated like doubling, drafting, warping, denting, design, kilpering, and so on. The study also covers minute details about the specialty coded language Talim being used by local craft persons. Different types of dyes both natural and synthetic have been covered. Pashmina shawls manufactured using power looms giving stiff competition to handloom shawls, affecting livelihood of artisans and workers. Moreover purity of the power loom based shawls also lacks purity since instead of using pure wool fiber, wool blended with nylons being used. Looking to that different initiations suggested by central and state government for uplifting the fading artistic decorum have also been incorporated like United Nations Conference on Trade and Development (UNCTAD), World Trade Organization (WTO), and Geographical Indications (GI). Suggestions have been also incorporated for the modernization of the loom set up and government steps undertaken for development of the Kani shawls.
