PM Lighting the Ram-Jyoti at his Delhi Residence (Source: India today)
This picture of the Prime Minister of India, Sri Narendra Modi lighting the Ram-Jyoti at his residence in New Delhi is a reason for joy for the devotees of Rama, who were eagerly awaiting the arrival of Ram Lala in Ayodhya.
The “Ram-Jyoti” or Lamp of Lord Rama symbolizes the victory of devotion after many years and is a celebration of Deepawali, the festival of light in honor of Ayodhyapati Sri Rama.
Beyond the brilliance of the Ram-Jyoti, what captures the eye in this image is the beautiful yellow shawl draped by the PM. Yellow in Indian culture is the color of devotion, sacredness, auspiciousness, and joy.
Pitambara, the yellow garment is a favorite attire of Sri Vishnu, Rama, and Krishna. But the value of PM’s shawl not only lies in its meaningful color, but its identity. Worn by royals of India, exported and prized by elites of the world, this is the most classic and lux Kashmiri or Cashmere shawl, known as “Kani”.
Inspired by the flora of Kashmir valley and a symbol of the meticulousness and patience of the weavers, Kani shawls and their technique have links to the humble weaves of Central Asian tribes and the rich tapestry work of Iran, known as “Termeh”.
The peak of Kani weaving was seen during the Mughal period when rulers and their families trusted the Kashmiri shawls to give them warmth and regalia. Texts from the 15th century talk about the splendor of Kani shawls, the beauty of whose motifs and color inspired and surprised painters.
The Ain-e-Akbari talks about an established shawl weaving industry in Kashmir, and the French traveller-writer Francois Bernier in the 17th century, praises the appeal of Cashmeres (a European term used to describe all Kashmiri weaves, but especially the shawls).
Another Indian royalty that trusted the delicate luxury of Kani and Kashmiri shawls was the Sikh Empire. Sheltering the weavers and artists that migrated with the disintegration of the Mughal empire, Punjab and adjoining areas soon developed their own beautiful varieties of woolen shawls.
Maharaja Ranjit Singh, the valorous Sikh ruler is also known for his generous patronage of shawl weavers and artists, who made Amritsar into a craft and commercial center that produced shawls not only for the Indian elite and middle class but for the French, and Parisian population, which in the aftermath of the French Revolution was looking for a clothing that felt premium and looked simply beautiful.
Many portraits done by European artists for elite ladies of Paris depict an interesting element- the Kashmiri shawl, wrapped or draped around, hanging on the shoulders or hands, worn usually with a plain gown.
Shawls with gowns became a symbol of the new Parisian elite and a classic attire for French women. Adorned with floral motifs which are universal symbols of femininity and beauty, these delicate weaves were the favorites of the queen Josephine, wife of Napolean, who boasted a vast collection of Kashmiri and Kani shawls in her royal wardrobe.
(Claude Monet’s Painting “Madame Louis Joachim Gaudibert” 1868, with the subject carrying a Kani shawl, Oil on Canvas, Source: Wikimedia Commons)
A work of the famous French painter, Claude Monet, showing his friend and patron Madame Louis Joachim Gaudibert, depicts the lady carrying a classic Kani weave shawl, with beautiful colors complementing her simple, floor-length gown.
Becoming a fashion staple for the French, who is to date considered the trendsetters in the world of fashion, Kani shawls became synonymous with refined taste, subtle but alluring beauty, and timeless regalia.
Belgian Painter Alfred Stevens’ painting of Women with Large Shawls (Source: Augusta’s Trip)
Back home, the British who settled and traded Indian goods, were charmed by the luxury and history of Indian and Kashmiri weaves.
The mesmerization of the European buyers of Indian Kani weaves can be seen in the variety of weaves that were being traded during the 19th century, in the list of goods prepared by a British officer William Moorcroft.
He lists shawls such as do-shala or two shawls stitched together, qasaba or rumal (kerchief), and shamla or waist girdles to name a few.
A distinct and essentially royal variant of the Kani shawl is the Kani-Jamawar. The term Jamawar means a Jama or overall style wrap, which covers the whole body with its long length and ample width.
Favored by patrons in India and abroad, a Jamawar best displays the unimaginable beauty of Kani weave, with intricate and vivid floral motifs all over the fabric, woven for over two years with a patience that matches the calmness of a saint in meditation.
From the earliest discovered examples of Kani weave in Indian history, the intricacy and richness of colors charmed the eyes of anyone lucky enough to experience it.
With rich threads, colored in bright hues that are inspired by the eye-catching colors of the Punjab hill paintings, Kani shawls are woven by the Kashmiri artisans called khandwao, “he who weaves with skill, but blindly”.
This peculiar meaning of the title suggests a unique process of Kani weaving, which entails that the weavers sit in the room with the Ustad or master weaver sitting at the end, reading the instructions.
Following only the voice of the master, the weavers move the bobbins through the warp threads. For each color, a separate bobbin is picked, and threads of one color are tied to the thread of the next color to achieve a seamless shift of colors of the shawl.
Colors used in a Kani shawl are taken from the many colors the artists see around them, in the naturally endowed valley. Green or Zargari, White or Chot, Anari or pomegranate or red, Pink or Gulabi, and Yellow or Zard are some of the classic colors of Kani, used by the weavers to create these aesthetic pieces of clothing.
The map of colors and patterns to be followed by the weavers of Kani is known as “Talim”, which is formally recorded on a graph through codes that represent colors. After finalizing the pattern for a shawl, its colors are decided, based on which a Talim graph is prepared and read by the Talim-guru.
This technique of Kani shawls has been preserved traditionally for generations by weavers living in the Kashmiri village of Kanihama, whose work is also registered under the Geographical Indication and prized as an artistic wearable by connoisseurs.
From the court of Akbar to Napolean, Kani shawls as gifts were the perfect way of showering love and respecting a person. Nazraana (offerings) to the emperors and their families under the Mughals included rich Kashmiri shawls and so did the bundles of gifts to the houses of European aristocrats.
Even today, to welcome an esteemed guest, draping a shawl around them is a simple yet significant practice, to reiterate the value of their presence.
PM Modi Worshipping Ram Lala, wrapped in a classic Kani, the eternal symbol of royalty (Source: India Today)
It is this luxuriant history of Kani shawls that makes it the perfect choice to be a part of the PM’s ensemble on such a monumental occasion. Donning Kani, the wrap of kings and elite, PM Modi makes a case for India’s rich history and its cultural reign over the hearts of the global population for centuries.
Celebrating and welcoming the beloved Ram Lala in a Kani shawl, the prime minister becomes one of the many prominent figures of history, who trusted the warm and refined embrace of Kani, to express the bliss and magnificence, and gave Kani its unparalleled fame, as the shawl for the royals.
Inspired by the PM’s Kani wrap and want to experience the extravagance of Kashmiri Kani weaves? Visit Exotic India’s collection of high-end Kani, Jamawar, and other Kashmiri shawls, and enjoy the cold weather like a royal.
1. Crafts of Jammu, Kashmir and Ladakh (Edited by Jaya Jaitly)
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